A Matter of Memory: Photography as Object
October 22, 2016 - January 29, 2017
With the convenience and ubiquity of computers and smartphones, the majority of photographic images are being recorded digitally rather than on film. As this transformation has broadened access to photographic images-both in making and in viewing-in many contexts it has also obviated the need for photographic prints. Snapshooters, photojournalists, and commercial photographers rarely produce material objects as the final step in their process. As a consequence, photographs in the form of image-bearing sheets of paper are scarce outside of the art world.


Richard Renaldi: Manhattan Sunday

January 21, 2017 - June 11, 2017

Exhibited at a museum for the first time, photographer Richard Renaldi's new series consists of portraits, urban still lifes, and streetscapes made in the wee hours of Sunday morning, when post-bacchanalian characters join early-morning workers in New York City's nooks and crannies.  Renaldi uses an 8×10-inch view camera to make his pictures, resulting in meticulous black-and-white images that magnify the uniqueness of each subject while capturing the singular mood that suffuses the city in the hours before dawn.  Implicit in the work is Renaldi's personal experience as a gay nightclub denizen in New York during and after the AIDS crisis, as well as his appreciation for the myriad and motley ways that the urban context encourages social awareness and a strong, if temporary, sense of community.


Robert Cumming: The Secret Life of Objects

February 18, 2017-May 28, 2017

Perception, language, and the nuances of photographic vision are common themes in the work of Robert Cumming.  His method of portraying the physically impossible so that it appears visually accurate has its roots in his early career as a painter, sculptor, performance artist, and mail artist.  It is notable that the quality of his photographic work is high, for anything less would detract from the more serious nature of Cumming's intent: to encourage viewers to reevaluate the world through his deep appreciation for absurdity.


Eugene Richards: The Run of Time

June 10, 2017-October 22, 2017

This retrospective exhibition features the work of Eugene Richards (American, b. 1944), one of the world's most respected photographers.  In the tradition of W. Eugene Smith and Robert Frank, Richards is devoted to socially conscious photography that focuses on the diverse, often complex lives of Americans, as well as the ongoing struggles of the world's poor.


Lucinda Devlin: Sightlines

June 24, 2017 - Dec 31, 2017

Lucinda Devlin: Sightlines includes selections from three series by American photographer Lucinda Devlin: Pleasure Ground (1977-1990), Corporal Arenas (1982-1998), and The Omega Suites (1991-1997). Best known for The Omega Suites-precisely composed images of execution chambers in the United States-Devlin has devoted her career to the relationship between our bodies and the spaces that they inhabit.  She has concentrated in particular on interiors associated with pleasure or pain, creating photographs that draw attention to the power relationships embedded in the rooms' architecture and decor.  At the same time, her photographs function as poignant meditations on the familiar yet extraordinary spaces in which our bodies pass time.  This exhibition is a reduced version of a full retrospective organized by the Weatherspoon Art Museum.


The Cinemas of India

November 11, 2017-May 13, 2018

The Cinemas of India comprises two exhibitions: Museum Treasures: Contemporary Indian Cinema, a selection of posters and film screenings from the George Eastman Museum's recently acquired collection of contemporary Indian cinema, and Cinema Play House, Nandita Raman's series of photographs of single-screen cinemas in India, many of which are threatened by the increasing number of multiplex theaters.

Museum Treasures: Contemporary Indian Cinema

The George Eastman Museum has recently acquired the world's largest collection of contemporary Indian cinema held by a museum or film archive.  The collection consists of 775 prints representing 597 film titles, all in 35mm format, made between 1999 and 2013.  A large number of film posters were also acquired as part of the collection.  This exhibition will shed light on the intriguing story behind the Eastman Museum's acquisition of this collection and will feature a selection of posters and films.

Cinema Play House

Between 2006 and 2009, Nandita Raman traveled throughout India creating Cinema Play House, a series of photographs depicting the country's slowly disappearing single-screen theaters.  Raman, whose family once owned one such theater in Varanasi, India, focused her lens on the architectural anomalies that set these spaces apart from the larger multiplex theaters that currently threaten their existence.


Ongoing Exhibitions:

A History of Photography
The George Eastman Museum's History of Photography Gallery is dedicated to rotating installations that demonstrate photography's historical trajectory through photographs and cameras from the museum's collection.  The selection of photographs changes approximately three times a year, continually refreshing the experience of visiting the Eastman Museum and offering regular opportunities to display the museum's treasures.

From The Camera Obscura to The Revolutionary Kodak
This three-part exhibition explores early photographic processes through cameras and related equipment from the museum's collections.  The arc of the exhibition starts with a room-size camera obscura providing a unique view of the historic West Garden.  Making Photographs: The First 50 Years explores the development of daguerreotype, wet-plate, and dry-plate photography.  The Revolutionary Kodak gallery showcases the new system of photography that Eastman introduced to the world-through both the evolution of the camera's first decade and the snapshots its various models captured.


Friday, February 10- Sunday, February 26
Beat the winter doldrums with the museum's annual floral display. Hundreds of blooms fill areas of the historic mansion with the scent and color of spring. A selection of objects from George Eastman's life from 1917 is also on view on the second floor of the mansion. Dutch Connection is sponsored by Gerald P. and Karen S. Kral. Greenhouse services provided by Lucas Greenhouses.


Saturday, January 14, 11 a.m.
Signed 45-minute house tours are led by docent Bob Menchel. Reservations strongly recommended. Private signed tours are available with advance notice. Reservations and info: tours@eastman.org or (585) 271-3361 ext. 238

Saturday, January 14, 12 p.m.
Signed 45-minute gallery tours are led by docent Bob Menchel. Reservations strongly recommended. Private signed tours are available with advance notice. Reservations and info: tours@eastman.org or (585) 271-3361 ext. 238.

Saturday, January 14, 1 p.m., Main Galleries
GALLERY TALK: A Matter of Memory: Photography as Object in the Digital Age
William Green, curatorial assistant in the Department of Photography and contributor to the exhibition catalogue, will guide visitors through A Matter of Memory: Photography as Object in the Digital Age. Free to members; incl. w/museum admission.

Friday, January 20, 6 p.m., Dryden Theatre
CONVERSATION with the Artist Richard Renaldi
In conversation with Curator in Charge Lisa Hostetler, artist Richard Renaldi will discuss his work on view in Manhattan Sunday. Manhattan Sunday consists of portraits, urban still lifes, and streetscapes made in the wee hours of Sunday mornings, when post-bacchanalian characters join early risers and street cleaners on New York City's avenues and side streets. On view in the Project Gallery from January 21 through June 11, this exhibition marks the first time the series is being shown in a museum. Exhibitions open until 8 p.m. following the conversation. Free to members, $10 general, $5 students (w/ID).

Saturday, January 21, 12 p.m., Curtis Theatre
FOCUS 45: Todd Gustavson, The Kodak DCS: 25 Years of Digital Photography
In the early 1990s, digital photography emerged from the Kodak laboratories as the Kodak Digital Camera System (DCS). Partnering with the Associated Press in 1994, Eastman Kodak Company helped to make the digital single-reflex (DSLR) camera the industry standard. Todd Gustavson, curator of the technology collection, will discuss this milestone achievement in image-making technology. Select DCS cameras are on view in the History of Photography Gallery. Free to members; incl. w/museum admission.

Saturday, January 28, 11 a.m.
Signed 45-minute house tours are led by docent Bob Menchel. Reservations strongly recommended. Private signed tours are available with advance notice. Reservations and info: tours@eastman.org or (585) 271-3361 ext. 238

Saturday, January 28, 12 p.m.
Signed 45-minute gallery tours are led by docent Bob Menchel. Reservations strongly recommended. Private signed tours are available with advance notice. Reservations and info: tours@eastman.org or (585) 271-3361 ext. 238.

Saturday, February 4, 11 a.m.
Signed 45-minute house tours are led by docent Bob Menchel. Reservations strongly recommended. Private signed tours are available with advance notice. Reservations and info: tours@eastman.org or (585) 271-3361 ext. 238

Saturday, February 4, 12 p.m.
Signed 45-minute gallery tours are led by docent Bob Menchel. Reservations strongly recommended. Private signed tours are available with advance notice. Reservations and info: tours@eastman.org or (585) 271-3361 ext. 238.

Sunday, February 12, 10 a.m.
Brunch will be served in the Potter Peristyle, followed by the 11:30 a.m. screening of The Ghost and Mrs. Muir (1947) in the Dryden Theatre. Guests are encouraged to enjoy the annual Dutch Connection floral display after the film. Organized by the Eastman Musuem Council. Tickets: $45 per person, includes brunch, film, and admission to the museum. Reservations for brunch required: (585) 271-3361 ext. 222.

Monday, February 13, 6 p.m., Dryden Theatre
Democrat and Chronicle entertainment columnist Jack Garner will offer his take on the 2017 Academy Award nominations and predict the winners in the major categories. Garner, who served as the Gannett News Service film critic for many years, is well known to audiences of the Dryden Theatre, where he has introduced dozens of films and interviewed industry luminaries. He is a recipient of the museum's George Eastman Medal of Honor in recognition of meritorious service to the advancement of the principles embodied by Eastman himself. Garner will take questions and attend the post-talk dinner with his wife, Bonnie, who currently serves as Eastman Museum Council president. $6 members, $8 general, $4 students (w/ID) Premium Tickets: $40 each, includes dinner with wine in the museum's Potter Peristyle following the talk. Reservations must be made by February 6; contact Allen Buell at abuell@eastman.org or (585) 271-3361 ext. 222.

Friday, February 17, 6-8 p.m.
EXHIBITION PREVIEW Robert Cumming: The Secret Life of Objects
6 p.m. Curator's Remarks, Dryden
6:30-8 p.m. Exhibition Preview
Exhibition curator Sarah Bay Gachot will give remarks, and artist Robert Cumming will be present. Cash bar and light refreshments. Free to members, $15 general, $10 students. Reservations required: (585) 234-6064 or membership@eastman.org.

Saturday, February 18, 11 a.m.
Signed 45-minute house tours are led by docent Bob Menchel. Reservations strongly recommended. Private signed tours are available with advance notice. Reservations and info: tours@eastman.org or (585) 271-3361 ext. 238

Saturday, February 18, 12 p.m.
Signed 45-minute gallery tours are led by docent Bob Menchel. Reservations strongly recommended. Private signed tours are available with advance notice. Reservations and info: tours@eastman.org or (585) 271-3361 ext. 238.

Saturday, February 18, 1 p.m., Main Galleries
GALLERY TALK: Robert Cumming: The Secret Life of Objects
Exhibition curator Sarah Bay Gachot will lead visitors on a guided tour of Robert Cumming: The Secret Life of Objects. Free to members; incl. w/museum admission.

Saturday, February 25, 12 p.m., Curtis Theatre
FOCUS 45: Jesse Peers, Yours Very Truly: An Exploration of George Eastman's Correspondence
Jesse Peers, archivist for the George Eastman Legacy Collection, has spent the last three years cataloging 155 boxes of George Eastman's correspondences. For the first time, a complete index of every letter Eastman ever sent or received has been created. Peers will discuss his most interesting and surprising finds from his work on the project. Free to members; incl. w/ museum admission.


Sundays, 3 p.m.
Free to members; incl. w/ museum admission.

  • Jan. 1, Aeolian Pipe Organ
  • Jan. 8, Clarinet Collection
  • Jan. 22, Lyric Academy of Music, a selection of works in celebration of Mozart's birthday
  • Feb. 5, Aeolian Pipe Organ
  • Feb. 12, Nathan Cheung, piano, classical and jazz selections
  • Feb. 26, Evelyn Lam, piano; Kimberly Merrill, soprano, music by Rachmaninoff, Rimsky-Korsakov, and Tchaikovsky

Performance Plus with Eastman School of Music
A recital series on the third Sunday of each month featuring performers from the Eastman School of Music and informed program commentary by Eastman PhD students from the Musicology Department.

  • Jan. 15, Rosanne Moore, harp; Lauron Kehrer, host; music of Marcel Grandjany, Caroline Lizotte, and others
  • Feb. 19, Trio Alexander; Jane Sylvester, host; music of Debussy and Ravel

# # #

January/February 2017

**New 7:30 pm Start Time**
Based on preferences expressed in our 2016 survey of Dryden audiences, we are changing the standard start time for Tuesday-Saturday screenings to 7:30 p.m. Sunday matinees will remain at 2 p.m. The box office will continue to open 45 minutes before showtime, and the café will be open before screenings.


  • The Exceptional Ernest Borgnine: January 4-February 24
  • First Contact: January 5-February 9
  • Three Films by Alain Resnais: January 17, February 11 & 18
  • Films by Mahamat-Saleh Haroun: February 3-22
  • Choreography for Camera: February-March
  • Museum Treasures: January 3, 19, 22
  • Silent Tuesdays: January 10 & 24, February 7
  • Dryden Kids: January 1, 15, 29, February 26
  • Rochester Premieres: January 8, February 3 

# # #

Sunday, January 1, 2 p.m. Dryden Kids | Holidays | Remembering Gene Wilder

Willy Wonka & the Chocolate Factory (Mel Stuart, US 1971, 100 min., 35mm)

When Charlie (Peter Ostrum) finds the golden ticket in his Wonka Bar, he wins not only a tour of the super-secret candy-land paradise overseen by the mysterious Willy Wonka (Gene Wilder), but a lifetime supply of chocolate as well! As he embarks on this adventure of a lifetime with four spoiled children in tow, he discovers a world beyond his wildest dreams open only to those pure of heart. All the ingredients of a classic fantasy are gloriously displayed in Roald Dahl's script from his own bestselling novel. Free for 17 & under.


Tuesday, January 3, 7:30 p.m. Museum Treasures

Cobra Woman (Robert Siodmak, US 1944, 70 min., 35mm)

Though she really attained A-level status only in her own mind, Dominican beauty Maria Montez was once known as the Queen of Technicolor. Her high-camp persona was so "exotic" in the parlance of Hollywood ballyhoo it could only be captured by that most glorious of color systems. We present her most beloved film-a South Seas adventure in which Montez plays a kidnapped bride and her evil sister, the high priestess of a deadly snake cult!-as it must be seen: in a rare 35mm Technicolor dye transfer print. Preceded by Athyrium filix-femina (Kelly Egan, Canada 2016, 5 min., 35mm), a brand new eye-popping and quite literally hand-quilted experimental work by Selznick School alum Kelly Egan, here to remind us why Cobra Woman was the avant-garde maestro Kenneth Anger's favorite. Filmmaker in person to introduce her short.


Wednesday, January 4, 7:30 p.m. Ernest Borgnine

From Here to Eternity (Fred Zinnemann, US 1953, 118 min., 35mm)

Based on James Jones's best-selling novel, Zinnemann's classic follows a group of troubled soldiers stationed in Hawaii in the months leading up to the attack on Pearl Harbor. With standout performances by Frank Sinatra, Montgomery Clift, Burt Lancaster, Deborah Kerr, and Ernest Borgnine, the film swept the Oscars, winning eight awards.


Thursday, January 5, 7:30 p.m. First Contact

The War of the Worlds (Byron Haskin, US 1953, 83 min., 35mm)

This vintage sci-fi gem from legendary fantasy producer George Pal and genre veteran Byron Haskin remains the definitive screen adaptation of H. G. Wells's classic novel about visitors from Mars with not-so-good intentions.


Friday, January 6, 7:30 p.m. Remembering Kiarostami

Close-Up (Nema-ye Nazdik, Abbas Kiarostami, Iran 1990, 98 min., 35mm, Persian w/subtitles)

Jean-Luc Godard once famously said, "Cinema begins with D. W. Griffith and ends with Abbas Kiarostami." To commemorate the recent passing of this unique master of contemporary cinema, we are bringing back his most celebrated and beloved achievement, ranked among the fifty best films ever made according to the latest iteration of BFI's influential survey. This fiction-documentary hybrid uses a sensational real-life event-the arrest of a young man on charges that he fraudulently impersonated the well-known filmmaker Mohsen Makhmalbaf-as the basis for a stunning, multilayered investigation into movies, identity, artistic creation, and existence, in which the real people from the case play themselves.


Saturday, January 7, 7:30 p.m. Ernest Borgnine

Johnny Guitar (Nicholas Ray, US 1954, 110 min., 35mm)

Strong-willed saloon-casino owner Vienna (Joan Crawford) squares off against her nemesis: the shrieking Emma Small (Mercedes McCambridge), who wrongly blames Vienna for her brother's death. One of the most resonant of all westerns because of its Freudian, feminist, and anti-McCarthy hysteria themes, it's also one of the most fun due to its eye-popping colors, razor-sharp dialogue, masterful direction, and incredible cast, which also includes Sterling Hayden and Ernest Borgnine.


Sunday, January 8, 2 p.m. Rochester Premiere

From What Is Before (Mula sa kung ano ang noon, Lav Diaz, Philippines 2014, 338 min., DCP, Tagalog w/subtitles)

Winner of five prizes at the Locarno Film Festival, including the Golden Leopard for Best Film, Lav Diaz's follow-up to his acclaimed Norte, The End of History is an extraordinary five-and-ahalf-hour epic that relates the strange, perhaps supernatural, occurrences that befall a remote village in the Philippine countryside. Don't miss this unique encounter with visions of one of the most uncompromising and original artists at work today, winner of the Golden Lion for best film at last year's prestigious Venice Film Festival.


Tuesday, January 10, 7:30 p.m. Silent Tuesdays

A Night at the Movies 100 Years Ago Newsreel (American Cooperative Weekly, US 1917, 3 min., 35mm)

Unmasked (Grace Cunard and Francis Ford, US 1917, 11 min., 35mm)

 His Wife's Hero (Graham Baker, US 1917, 11 min., 35mm)

Chickens as Big as Turkeys (Bray Pictograph, US 1917, 3 min., 35mm)

Dreamy Dud (Essanay, US 1917, 3 min., 35mm)

Straight Shooting (John Ford, US 1917, 60 min., 16mm)

Discover what it was like to go to the movies a hundred years ago. This program features a newsreel, a drama, a comedy, a documentary, a cartoon, and a western (the very first preserved feature directed by the legendary John Ford and featuring Harry Carey)-all perfect examples of the special kind of entertainment (and education) that our (great, great) grandparents enjoyed in the very first movie palaces and flea pits when the twentieth century was still young. Live piano by Philip C. Carli. Special support provided by the Academy of Motion Picture Arts and Sciences.


Wednesday, January 11, 7:30 p.m. Ernest Borgnine

Vera Cruz (Robert Aldrich, US/Mexico 1954, 94 min., 35mm)

Gary Cooper, Burt Lancaster, and Ernest Borgnine star in this dirty, dusty, sweaty, cynical, and violent western, set in Mexico during the Franco Mexican War, which preceded similar reinventions of America's foremost genre by the likes of Sam Peckinpah and Sergio Leone for a decade. Vera Cruz made a profound impact on François Truffaut, then a film critic, who compared director Robert Aldrich's efforts to those of Jean Cocteau and Orson Welles.


Thursday, January 12, 7:30 p.m. First Contact

Solaris (Andrei Tarkovsky, Soviet Union 1972, 166 min., 35mm, Russian w/subtitles)

Andrei Tarkovsky turns an innovative, pensive eye to the Space Age in one of his most critically acclaimed and globally recognizable efforts. In this visually stunning masterpiece, a psychologist travels to a space station orbiting the distant planet Solaris, finding the crew wrecked by emotional crisis and haunted by mysterious alien creatures. As he struggles to help the crew, he soon succumbs to the same crippling forces and discovers that the planet below is not what it seems. With patient, breathtaking cinematography and a metaphysically charged screenplay, this quiet film throws convention to the wind, inducing an experience that is dreamlike, cerebral, and unlike any other science-fiction film.


Friday, January 13, 7:30 p.m. First Contact

Alien (Ridley Scott, UK/US 1979, 117 min., 35mm) Sigourney Weaver proves herself a courageous warrior as her working-class spaceship crew steadily fall prey to a terrifyingly unpredictable creature in Scott's futuristic spin on the haunted house film and the first in a hugely successful franchise series, known also for one of the most memorable taglines: "In space no one can hear you scream." The alien, inspired by the sleek, biomechanical designs of H. R. Giger (who was also part of the special effects team), is infamous for its gut-splattering first appearance.


Saturday, January 14, 7:30 p.m. Ernest Borgnine

Bad Day at Black Rock (John Sturges, US 1955, 81 min., 35mm)

Smoldering rural hatred erupts as Spencer Tracy fights postwar bigotry in the male-dominated town of Black Rock, New Mexico. Tracy shines in an Oscar-nominated performance as the one-armed stranger whose presence threatens to expose a deadly secret. Director Sturges creates an aura of impending doom, and Ernest Borgnine, Lee Marvin, and Robert Ryan provide the menace in this seminal dissection of small-town prejudice.


Sunday, January 15, 2 p.m. Dryden Kids

Charlie and the Chocolate Factory (Tim Burton, US/UK/Australia 2005, 115 min., 35mm)

While author Roald Dahl found 1971's Willy Wonka to be soft and saccharine, Burton's adaptation is more faithful to the novel. The animal and Oompa Loompa staff renews Dahl's controversial twist on labor rights, while CG animation allows Burton to explore in detail the massive factory of wonders in a way Willy Wonka could not. Charlie further examines the wounded psyche and repressed abandonment issues that drive Wonka's candy-coated isolationism. Free for 17 & under.


Tuesday, January 17, 7:30 p.m. Three Films by Alain Resnais

Muriel, or The Time of Return (Muriel ou Le temps d'un retour, Alain Resnais, France/ Italy 1963, 115 min., 16mm, French w/subtitles)

Following two bona fide landmark achievements of cinematic art that brought him international fame and success-Hiroshima mon amour (1959) and Last Year at Marienbad (1961)- Alain Resnais chose to push his already groundbreaking notions of cinematic space, time, and trauma even further with Muriel. The elliptic, elusive, and fragmented narrative revolves around the ideas of loss, guilt, and the passing of time, and follows a woman haunted by past love and a man tormented by his past misdeeds, with the French occupation of Algeria providing a context for all the interior drama.


Wednesday, January 18, 7:30 p.m. Ernest Borgnine

Marty (Delbert Mann, US 1955, 90 min., 35mm)

The second of only two films ever to win both the Palme d'Or and the Academy Award for Best Picture, Marty began as a teleplay by the great Paddy Chayefsky, who then adapted the script for the big screen. Taking over for Rod Steiger, the extraordinarily great Ernest Borgnine slipped effortlessly into the role of a kindhearted but lonely Bronx butcher who comes to the aid of an equally plain schoolteacher (Betsy Blair) after she is abandoned at a dancehall by her date. Together, these two lonely hearts share a close encounter with love. Hailing from an era of extravagant Hollywood spectacles, this unusually smart and humane drama seems almost shocking in its rejection of clichés and its embrace of real life, and can be seen as America's answer to Italian neorealism.


Thursday, January 19, 7:30 p.m. **SOLD OUT**

Actor Keir Dullea in Person!

2001: A Space Odyssey (Stanley Kubrick, UK/US 1968, 149 min., 35mm)

The George Eastman Museum proudly presents a recently acquired, brand-new 35mm print of the roadshow version of Kubrick's visionary sci-fi masterwork, complete with the music meant to be heard before the film's beginning, during the intermission, and at the end. The themes of artificial intelligence and of human exploration of our solar system, now part of our everyday experience, are treated with prophetic insight through a solemn, spellbinding immersion in the silence of the cosmos: widescreen, the Blue Danube waltz, and pristine imagery from the film's preservation negative are in full display for the kind of cinematic event that fully expresses the motion picture as an art form. The star of 2001 as astronaut Dave Bowman, Keir Dullea, will introduce the film and join us again after the screening to share stories and insights about its making. Dullea will also sell and sign photographs before the screenings and following the discussion. This event has sold out. A second screening of 2001: A Space Odyssey takes place on Sunday, January 22 at 2 p.m.


Friday, January 20, 7:30 p.m. New DEFA Restoration

I Was Nineteen (Ich war neunzehn, Konrad Wolf, East Germany 1968, 115 min., DCP, German w/subtitles)

In 1968, the East German film studio DEFA produced two feature films about the 1945 liberation of Germany by Soviet troops. Both films tell autobiographical stories but while director Heiner Carow's film that we will show Friday, January 27, was banned during post-production, director Konrad Wolf's I Was Nineteen became one of the studio's most celebrated films. Wolf tells the story of young Gregor, who returns to Germany as a Red Army soldier after having fled his native country with his family as a child. The studio endorsed the close ties between Germans and Soviets in the figure of Gregor, but the film actually paints a complicated picture of a young man struggling for his identity. Cosponsored by the Humanities Department at the Eastman School of Music, as well as the Department of History, the Film and Media Studies Program, and the Department of Modern Languages and Cultures- German Program at the University of Rochester.


Saturday, January 21, 7:30 p.m. Ernest Borgnine

Violent Saturday (Richard Fleischer, US 1955, 90 min., 35mm)

A gang of bank-robbing rogues roll into a small town ready for their big score, only to find that the community has troubles all its own. Victor Mature, Ernest Borgnine, and Lee Marvin star in this color and CinemaScope gem from action-thriller specialist Richard Fleischer.


Sunday, January 22, 2 p.m. Museum Treasures | First Contact

2001: A Space Odyssey (Stanley Kubrick, UK/US 1968, 149 min., 35mm)

The George Eastman Museum proudly presents a recently acquired, brand-new 35mm print of the roadshow version of Kubrick's visionary sci-fi masterwork, complete with the music meant to be heard before the film's beginning, during the intermission, and at the end. The themes of artificial intelligence and of human exploration of our solar system, now part of our everyday experience, are treated with prophetic insight through a solemn, spellbinding immersion in the silence of the cosmos: widescreen, the Blue Danube waltz, and pristine imagery from the film's preservation negative are in full display for the kind of cinematic event that fully expresses the motion picture as an art form.

Advance tickets for this Sunday matinee (regular Dryden pricing) are available at eastman.org/2001.


Tuesday, January 24, 7:30 p.m. Silent Tuesdays

He Who Gets Slapped (Victor Sjöström, US 1924, 71 min., 35mm)

Lon Chaney, the "Man of a Thousand Faces," stars as an embittered inventor who faces humiliation by embracing the lifestyle of a circus clown. To deal with his daily feelings of betrayal, he creates an act in which he is slapped around by his fellow clowns. Director Sjöström, Chaney, and costars Norma Shearer and John Gilbert, crafted one of the most emotional films of the silent era. Live piano by Philip C. Carli. Special support provided by the Academy of Motion Picture Arts and Sciences.


Wednesday, January 25, 7:30 p.m. Ernest Borgnine

The Catered Affair (Richard Brooks, US 1956, 93 min., 16mm)

Ernest Borgnine stars with Bette Davis as working-class parents in this timely and extremely relevant field guide for anyone contemplating marriage with no budget. Practical and level-headed Jane announces at breakfast that she and Ralph are getting married next week in a simple ceremony with only family in attendance, and for economy, no reception. By dinner time, the opinions of various family members from both sides of the aisle have blasted the nuptials into the realm of extravaganza. Borgnine is especially poignant as the father of the bride-sensible, frugal, and loving-as he contemplates his life's savings burning on the altar of artificial social pressure.


Thursday, January 26, 7:30 p.m. First Contact

2010: The Year We Make Contact (Peter Hyams, US 1984, 116 min., 35mm)

1984: The year MGM promised to reveal the grand design of Kubrick's mind-expanding primal space journey. Faithfully reviving the original story, 2010 promises to answer "a good number of questions that remain unanswered." A deeply paranoid Russian/American Cold War co-op mission seeks to reactivate HAL 9000 and solve the mystery of the Monolith. Like its predecessor, the film plays with light and sound, while the set design and somber tone show the influence of Alien.


Friday, January 27, 7:30 p.m. New DEFA Restoration

The Russians Are Coming (Die Russen kommen, Heiner Carow, East Germany 1971, 92 min., DCP, German w/ subtitles)

Carow's semi-autobiographical story about sixteen-year-old Günter, a member of the Hitler Youth who is part of the Nazis' last-ditch effort to resist the feared approaching Soviet Army, did not get the approval for final production in 1968. Censors lamented the film's focus on an ordinary Nazi follower rather than an anti-fascist hero, and objected to its "contamination with modernism." Today seen as a classic of its era, the film was finally released in East Germany in 1987. Cosponsored by the Humanities Department at the Eastman School of Music, as well as the Department of History, the Film and Media Studies Program, and the Department of Modern Languages and Cultures- German Program at the University of Rochester.


 Saturday, January 28, 7:30 p.m. Ernest Borgnine

The Vikings (Richard Fleischer, US 1958, 114 min., 35mm)

 Kirk Douglas, Tony Curtis, Janet Leigh, and Ernest Borgnine star in perhaps the finest and most rousing Viking adventure movie ever made. The story concerns the rivalry between a Viking leader (Douglas) and a slave (Curtis) when they both lay claim to a captured English princess (Leigh). One of the most beautiful films ever shot by famed cinematographer Jack Cardiff, who used the widescreen Technirama frame and stunning locations in Norway and Brittany to their full advantage.


Sunday, January 29, 2 p.m. First Contact | Dryden Kids

Explorers (Joe Dante, US 1985, 109 min., 35mm) Three teenage outcasts band together in Joe Dante's nuts-and-bolts outer-space adventure. Ben's cryptic circuit board dreams and Wolfgang's Apple II wizardry reveal an electric force sphere of extraterrestrial origins. Darren refurbishes a carnival Tilt-a-Whirl into a DIY junkyard spacecraft to find more friends in another galaxy. Featuring the debuts of both Ethan Hawke and River Phoenix, this cult film brims with nostalgia for '80s computing and ILM graphics. Free for 17 & under.


Tuesday, January 31, 7:30 p.m. First Contact

The Navigator: A Medieval Odyssey (Vincent Ward, Australia/New Zealand 1988, 90 min., 35mm)

Guided by the visions of a young boy, a group of men escaping the Black Plague in the 14th century dig a tunnel with the goal of coming out on the other side of the earth and planting a cross on the highest spire to honor God and ask for his protection. When they emerge in modern-day New Zealand, the new world appears both wondrous and demonic, forcing the men to cope with unexpected challenges as they seek to fulfill their mission. Using both black-and-white and color film, Ward underscores the bright sleekness of modern civilization through the eyes of innocents seemingly from another world.


Wednesday, February 1, 7:30 p.m. Ernest Borgnine

Barabbas (Richard Fleischer, US/Italy 1961, 137 min., 35mm)

Anthony Quinn is Barabbas, the bandit who was chosen to live while Jesus is condemned to the cross. Spiritually haunted, Barabbas bears the cross of his own guilt and the ire of the nascent Christian community. The self-proclaimed un-killable Barabbas returns to his barbarous ways, inevitably sentenced to decades of strife. He is tortured by the question "Why me?" before his redemption comes to pass. In an uncanny parallel to Biblical legend, the crucifixion scene was filmed during an actual solar eclipse.


Thursday, February 2, 7:30 p.m. First Contact

The Brother from Another Planet (John Sayles, US 1984, 108 min., 35mm)

Sayles is a master of telling diverse American stories with empathy and humor. This early charmer uses the POV of a true alien immigrant. From the outset, the Brother (Joe Morton) is assailed by a multiplicity of language, music, and symbols-the cultural overload that is Manhattan. The Brother settles into a Harlem dive bar, where his inability to speak makes him a sounding board for community opinions. His electro-telekinetic powers employ him as a video arcade repairman until white intergalactic slave traders attempt a repatriation.


Friday, February 3, 7:30 p.m. Rochester Premiere | Mahamat-Saleh Haroun

Hissein Habré, A Chadian Tragedy (Hissein Habré, une tragédie tchadienne, Mahamat-Saleh Haroun, Chad/Senegal/France 2016, 82 min., DCP, French and Arabic w/subtitles)

In 2013, former Chadian dictator Hissein Habré's arrest in Senegal marked the end of a long combat for the survivors of his regime. Accompanied by the chair of the Association of the Victims of the Hissein Habré Regime, Mahamat-Saleh Haroun goes to meet those who survived this tragedy and who still bear the scars of the horror in their flesh and in their souls. Through their courage and determination, the victims accomplish an unprecedented feat in the history of Africa: that of bringing a head of state to trial. "Director Mahamat-Saleh Haroun captures the stirring and disturbing testimony of a handful of survivors who lived through Habre's dictatorship. By allowing them to tell their stories, Haroun is helping his country to finally mourn its own tragedy, while his warm and understanding approach offers up what feels like a path toward appeasement." - The Hollywood Reporter


Saturday, February 4, 7:30 p.m. Ernest Borgnine

The Poseidon Adventure (Ronald Neame, US 1972, 117 min., 35mm)

Notable for its incredible practical effects, The Poseidon Adventure is a classic tale of a disastrous inverted cruise. Ernest Borgnine and Gene Hackman lead a cast of stars through a watery labyrinth as they struggle to escape their ship, which has been flipped upside-down by a freak wave. The film was by necessity an expensive production, requiring specially built sets that could tilt and flood. It became a massive success and helped to spawn the "disaster-movie" craze popular throughout the rest of the 1970s.


Sunday, February 5, 2 p.m. Mahamat-Saleh Haroun

Abouna (Our Father) (Mahamat-Saleh Haroun, Chad/France/Netherlands 2002, 81 min., 35mm, French and Arabic w/subtitles) Fifteen-year-old Tahir and eight-year-old Amine wake up one morning and discover that their father is missing. The brothers decide to find him and wander through town. Deeply disturbed by his sudden disappearance, they begin to hang out, play hooky, and go to the movies. At the cinema, they think they see their father starring in one of the films on screen. They steal the film reels and look for his face on the film, but the police arrest them. Weary of their antics, their mother sends them away to a Koranic school. At the school, very unhappy, they plan their escape. "One of the year's best films. A future classic, no doubt about it." - Time Out


Tuesday, February 7, 7:30 p.m. Silent Tuesdays

Rochester Premiere of a New George Eastman Museum Restoration

Thirty Years of Motion Pictures (The March of the Movies) (Otto Nelson, Terry Ramsaye, US 1927, 78 min., 35mm) As early as 1925, the motion picture industry was reflecting on its own history, the development of its commercial and artistic aspects, and, on the cusp of sound, what was in store for the future of "the movies." Thirty Years of Motion Pictures began as a "film presentation" entitled Early History and Growth of the Motion Picture Industry and tracking motion picture progress from pre-cinema technology to the present, including illustrated songs, Edison films from the 1890s, turn-of-the-century newsreels, aerial photography, Kinemacolor, Technicolor, animation, industrial films, stop-motion animation, high-speed photography, and narrative film. The National Board of Review became interested, additional work was done, and the revised, 14-reel version of this exhilarating self-portrait of the film industry was presented in January 1927. Live piano by Philip C. Carli. Special support provided by the Academy of Motion Picture Arts and Sciences.


Wednesday, February 8, 7:30 p.m. Mahamat-Saleh Haroun

Dry Season (Daratt, Mahamat-Saleh Haroun, Chad/France/Belgium/ Austria 2006, 96 min., 35mm, Arabic & French w/subtitles)

Chad, 2006. The government has granted amnesty to all war criminals. Sixteen-year-old Atim is given a revolver by his grandfather so that he may kill the man who killed his father. Atim leaves his village for N'djamena, seeking a man he does not know. He quickly locates him: former war criminal Nassara is now married and settled down as the owner of a small bakery. With the firm intention of killing him, Atim gets closer to Nassara under the guise of looking for work. Intrigued by Atim's attitude toward him, Nassara takes him under his wing and teaches him the secrets of making bread. Over the weeks, a strange relationship evolves between the two. A profoundly moving exploration of possibilities of reconciliation.


Thursday, February 9, 7:30 p.m. First Contact

Contact (Robert Zemeckis, US 1997, 150 min., 35mm) Based on the novel by astrophysicist Carl Sagan, Contact is a thoughtful, philosophical exploration of what an encounter with an extraterrestrial intelligence might be like. The film is notable for its groundbreaking special effects work; at the time, the opening sequence was the longest computer-generated effect ever made for a live-action film, and it remains impressive today.


Friday, February 10, 7:30 p.m. Ernest Borgnine

Ice Station Zebra (John Sturges, US 1968, 148 min., 35mm)

Shot in both Cinerama and Super Panavision 70, Ice Station Zebra fills the screen with some spectacular underwater images and sweeping skyscapes while balancing a human drama played out in the confines of a US nuclear submarine. Rock Hudson, Ernest Borgnine, Patrick McGoohan, and Jim Brown are all dependably believable as the Cold War warriors fighting the elements, the Russians, and an unknown saboteur, in order to save a remote and vital US weather station in the frozen wastes of the Arctic. Director Sturges balances the micro and the macro in this big-screen adaptation of Alistair MacLean's action-packed novel.


Saturday, February 11, 7:30 p.m. Three Films by Alain Resnais

Last Year at Marienbad (L'année dernière à Marienbad, Alain Resnais, France/ Italy 1961, 93 min., 35mm, French w/subtitles)

Alain Resnais teamed with novelist Alain Robbe-Grillet to create Last Year at Marienbad, one of the most influential art films ever made. At a baroque European hotel, a nameless hero (Giorgio Albertazzi) tries to persuade the nameless heroine (Delphine Seyrig) that they met the previous year. Moving ambiguously between past and present and filled with homages to Hollywood cinema, this dreamlike work of screen poetry "recalls not just a style of filmmaking-glacial, intense, contemptuous of easy explanations-but a whole epoch of film going" (Anthony Lane, The New Yorker).


Sunday, February 12, 11:30 a.m.

The Ghost and Mrs. Muir (Joseph L. Mankiewicz, US 1947, 104 min., 35mm)

Perhaps one of cinema's most beloved romances, The Ghost and Mrs. Muir blends fantasy and reality in a wistful love story that continues to resonate with contemporary audiences. Rex Harrison and Gene Tierney are perfectly cast as the titular leads and possess an on-screen chemistry that drives the story forward. George Sanders, smooth and elegant as a cardboard lover, Natalie Wood and Edna Best provide stellar supporting performances, under Mankiewicz's finely tuned direction. And it is all enveloped in Bernard Herrmann's timeless musical score full of yearning, love, and what might have been. Note earlier start time.


Tuesday, February 14, 7:30 p.m. Choreography for Camera

A Study in Choreography for Camera (Maya Deren, US 1945, 4 min., 16mm)

Ritual in Transfigured Time (Maya Deren, US 1946, 15 min., 16mm)

Meditation on Violence (Maya Deren, US 1948, 13 min., 16mm)

The Very Eye of Night (Maya Deren, US 1958, 15 min., 16mm)

Dance in the Sun (Shirley Clarke, US 1953, 8 min., 35mm)

Bullfight (Shirley Clarke, US 1955, 9 min., 35mm)

Moment in Love (Shirley Clarke, US 1956, 10 min., 35mm)

Nine Variations on a Dance Theme (Hilary Harris, US 1966, 13 min., 16mm)

The first installment of our series exploring the relationship between film and dance, curated by Douglas Crimp, features eight short historical landmarks of this particular intersection. Directed by three major American artists, these groundbreaking classics are preoccupied mostly with idea of employing the specifics of cinematographic apparatus to create choreographies that surpass the limitations of stage and can only exist on film. Introduction by Douglas Crimp, Fanny Knapp Allen Professor of Art History, University of Rochester. Prints of films by Shirley Clarke courtesy of the Museum of Modern Art, New York.


Wednesday, February 15, 7:30 p.m. Mahamat-Saleh Haroun

A Screaming Man (Un homme qui crie, Mahamat-Saleh Haroun, Chad/France/Belgium 2010, 92 min., 35mm, French and Arabic w/subtitles)

Adam, a sixty something former swimming champion, is a pool attendant at a hotel in Chad. When the hotel gets taken over by new Chinese owners, he is forced to give up his job to his son, Abdel, leaving Adam humiliated and resentful. Meanwhile the country is in the throes of civil war. Rebel forces attack the government while the authorities demand the population to contribute to the "war effort," with money or volunteers old enough to fight. The District Chief constantly harasses Adam for his contribution. But Adam is penniless; he only has his son. In a moment of weakness, Adam makes a decision that he will forever regret.


Friday, February 17, 7:30 p.m. Ernest Borgnine

The Wild Bunch (Sam Peckinpah, US 1969, 144 min., 35mm)

In Peckinpah's revered classic, a group of mostly aging bank robbers (led by William Holden and including Ernest Borgnine) head south to pull off one last job for a dangerous Mexican warlord, while a posse closes in. Violent, brilliantly edited, and brimming with tour-de-force action sequences that blend seamlessly with quiet, reflective moments, The Wild Bunch is a true masterpiece of cinema.


Saturday, February 18, 7:30 p.m. Three Films by Alain Resnais

Hiroshima Mon Amour (Alain Resnais, France/Japan 1959, 90 min., 35mm, French and Japanese w/subtitles)

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. The result: an intellectual and erotic masterpiece. Awarded the International Critics' Prize at Cannes, Hiroshima Mon Amour caused a sensation for its scenes of sexual intimacy and its poignant treatment of doomed romance.


Sunday, February 19, 2 p.m. Ernest Borgnine

Sunday in the Country (aka Vengeance Is Mine) (John Trent, Canada/UK 1974, 93 min., 35mm) Like Last House on the Left before it, this tight, brutal slab of Canadian exploitation (or "Canuxploitation," as fans would have it) is as much a critique of homespun bloodthirst as it is a surprisingly effective example of savage '70s cinema. Ernest Borgnine stars as a pious farmer who stands his ground to horrifying effect when a trio of wanted killers (including Bonnie and Clyde's Michael J. Pollard) show up on his doorstep. Grandpa claims to be protecting his granddaughter, but the film dares to suggest that violence may be something deep in the national grain. Little surprise, then, that Canadian critics faulted the film for being "too American."


Tuesday, February 21, 7:30 p.m. Choreography for Camera

RainForest (D. A. Pennebaker, Richard Leacock, US 1968, 20 min., digital)

Channels/Inserts (Charles Atlas, US 1982, 32 min., digital)

Leacock and Pennebaker filmed choreographer Merce Cunningham's dance "RainForest" as part of the 1968 Buffalo Arts Festival's program of experimental art, music, dance, poetry and theatre called "Whose Afraid of the Avant-Garde." The dance composition also featured music by David Tudor, costumes by Jasper Johns, and sets by Andy Warhol. To create Channels/Inserts, Cunningham and Atlas divided the Cunningham Dance Company's Westbeth studio into sixteen possible areas for dancing and used chance methods based on the I Ching to determine the order in which these spaces would be used, the number of dancers to be seen, and the events that would occur in each space. Atlas employed cross-cutting and animated mattes or wipes to indicate a simultaneity of dance events occurring in different spaces, as well as to allow for diversity in the continuity of the image. Introduction by Douglas Crimp, Fanny Knapp Allen Professor of Art History, University of Rochester.


Wednesday, February 22, 7:30 p.m. Mahamat-Saleh Haroun

Grigris (Mahamat-Saleh Haroun, Chad/France 2013, 101 min., 35mm)

Despite a bum leg, 25-year-old Grigris has hopes of becoming a professional dancer, making some extra cash putting his killer moves to good use on the dance floor of his local club every weekend. His dreams are tested when his stepfather falls critically ill and he is forced to risk his future by smuggling oil to pay the hospital bills. When he befriends Mimi, a prostitute, the two will try to start a new life together. But as bad decisions begin to catch up with them, they'll have to run for their lives. Their pasts, however, are never far behind, bringing them to a perilous climax.


Thursday, February 23, 7:30 p.m. Ernest Borgnine

Convoy (Sam Peckinpah, US 1978, 110 min., 35mm)

On the short list of feature films based on popular songs-in this case C. W. McCall's CB-radio themed novelty hit "Convoy"-Sam Peckinpah's rollicking, proudly lowbrow comedy adventure leads the pack. The blacktop meet-cute of Peckinpah veterans Kris Kristofferson (Pat Garrett & Billy the Kid) and Ali MacGraw (The Getaway) may be something out of a screwball comedy, but the film-about a convoy of interstate truckers on the run from a corrupt county sheriff (Ernest Borgnine)-is really a western in trucker drag. It's rumored that much of the second unit direction was taken over by actor James Coburn due to Peckinpah's failing health. Ironically, the film was the most financially successful of Bloody Sam's career.


Friday, February 24, 7:30 p.m. Ernest Borgnine

Escape From New York (John Carpenter, UK/US 1981, 99 min., DCP) Kurt Russell stars as action movie icon Snake Plissken in this cult futuristic thriller directed by the great John Carpenter. Plunged into future Manhattan, which has been turned into a maximum security prison for the country's worst criminals, Snake must rescue the president of the United States, who is being held hostage inside by the Duke of New York. The memorable cast of colorful side characters includes Lee Van Cleef, Isaac Hayes, Donald Pleasence, and Ernest Borgnine.


Saturday, February 25, 7:30 p.m. Nitrate Picture Show Festival Favorite

A Star Is Born (William A. Wellman, US 1937, 115 min., 35mm)

A fresh-faced farm girl goes to Hollywood and becomes a star, but her rise to the top is accompanied by heartbreak and tragedy. The second of four versions of this Tinseltown myth is arguably the best, featuring brilliant dramatic work by Janet Gaynor as the rising young star and Fredric March as her alcoholic has-been actor husband. This original Technicolor nitrate print will dazzle your eyes!


Sunday, February 26, 2 p.m. Dryden Kids

Pee-wee's Big Adventure (Tim Burton, US 1985, 90 min., 35mm)

In the strange and wonderful story of a man-child in search of his beloved bicycle, Paul Reubens introduced movie audiences around the world to one of the iconic figures of the 1980s, Pee-wee Herman. First-time feature director Tim Burton and cowriters Reubens and Phil Hartman craft a narrative and emotional atmosphere that secretly recall the neorealist classic The Bicycle Thief. Free for 17 & under.


Tuesday, February 28, 7:30 p.m. Choreography for Camera

A Midsummer Night's Dream (George Balanchine, Dan Eriksen, US 1967, 93 min., 35mm)

A film recording of a famous 1962 two-act ballet choreographed by George Balanchine, one of the most celebrated choreographers of our time, based on the Shakespeare comedy. The ballet, through its themes of reality versus illusion, and change versus constancy, displays love in all its guises. In the first act there are dances of unrequited love and love that is reconciled. There is a pas de deux for the Fairy Queen Titania and Bottom, who has been turned into an ass-a perfect illustration in dance of the old proverb, "love is blind." In the second act, which opens with Mendelssohn's familiar Wedding March, there is a pas de deux representing ideal, untroubled love. Introduction by Douglas Crimp, Fanny Knapp Allen Professor of Art History, University of Rochester

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The George Eastman Museum is accredited by the American Alliance of Museums and is a member of the International Federation of Film Archives.

Address: 900 East Ave., Rochester, NY 14607-2298

Web site: www.eastman.org

Phone: (585) 271-3361


Museum & Store: Tues.-Sat. 10 a.m.-5 p.m., Sun. 11 a.m.-5 p.m. Closed Mondays, Thanksgiving, and Christmas Day.

Dryden Theatre: Doors open 45 minutes before screenings and events, unless otherwise noted.

Eastman Museum Café: Open Tues.-Sun. during regular museum hours and before film screenings.

Admission & Tickets

[NEW PRICING for 2017] General Museum: Members always free. $15 adults, $13 seniors (65+), $5 ages 5-17 and students (with ID). Children 4 & under free with full paid adult admission (does not apply to groups). Free regular admission for SNAP cardholders and their families, and for active duty military personnel and their families.

Group Rates: Visit eastman.org/group-tours or call (585) 271-3361 ext. 238.

Film Screenings: $8, $6 members, $4 students. Dryden Kids screenings: Children 17 & under free. Unless otherwise noted, tickets available first come, first served at the box office 45 minutes before showtime. Take-10 Passes: Ten discounted Dryden admissions $65, $45 members, $30 students. Available at the box office and Lipson Welcome Center. Valid for regularly priced screenings only.

Special Events

Advance tickets available at eastman.org, the Lipson Welcome Center, or the Dryden box office.

Public Transportation

RTS East Ave. routes 57 & 81; University Ave. route 48


Docent-led tours of the museum are offered daily (Tues.-Sun.) at the times below. Included w/ museum admission.

Galleries: 1 p.m.

Mansion: Tues.-Sat., 10:30 a.m. & 2 p.m., Sun. 2 p.m.

Garden: May & Sept.: Tues.-Fri. 12 p.m., Sat. & Sun. 12 & 3:30 p.m.; Jun.-Aug.: daily, 12 & 3:30 p.m.

Self-Guided Cell Phone: (585) 563-3496

Self-Tour Scripts: Available at the Lipson Welcome Center.

Sign Language: See calendar for dates.

Accessibility & Interpretation

The Eastman Museum and Dryden Theatre are accessible. Some areas of the historic mansion and gardens have limited wheelchair access. Sign Language Interpretation: Provided with one week's notice. Call (585) 271-3361 ext. 238. Closed-Captioning: Displayed on media presentations throughout the mansion. Hearing Amplification Devices: A hearing-induction loop system funded by the Hearing Loss Association of America, Rochester Chapter, is installed in the Dryden, and loop receivers are available in the box office. An Infrared System is also available. 

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To download press images for 2017, visit:  https://eastmanmuseum.box.com/PressPhotos