OCTOBER 23 - 25

BEGOTTEN has no characters in the ordinary sense. Its final credits name three principal figures: God Killing Himself. Mother Earth. Son of Earth – Flesh on Bone. The entire film is what those names do to each other and to the earth. God Killing Himself tears open his body and dies. Mother Earth rises from what remains and takes his seed into herself. She gives birth to Son of Earth Flesh on Bone. He is cast into a barren world, seized by the Nomads, tortured, killed, and briefly returned to life by his mother.The Nomads destroy her too. The Robed Figures gather what remains of mother and son, grind their bodies down, and return them to the soil. The ground flowers.

Shot on 16mm and rephotographed frame by frame over four years, BEGOTTEN transforms bodies, landscape, darkness, light and grain into a physical world with its own laws. This new restoration presents the film in the complete photographic form it was always meant to possess. A mindbending exploration of life and death not for the faint of heart. You may find it hard to shake off the artistry and originality of this visionary effort. And if you're looking to be freaked out you shouldn't pass it up, a mandatory pilgrimage for fans of truly weird cinema.

FRIDAY, OCTOBER 23 --- 7:30pm

SATURDAY, OCTOBER 24 --- 8pm

SUNDAY, OCTOBER 25 --- 7pm

OCTOBER 24 - 25

MODERN TIMES, Charlie Chaplin’s last outing as the Little Tramp, puts the iconic character to work as a giddily inept factory employee who becomes smitten with a gorgeous gamine (Paulette Goddard). With its barrage of unforgettable gags and sly commentary on class struggle during the Great Depression, Modern Times—though made almost a decade into the talkie era and containing moments of sound (even song!)—is a timeless showcase of Chaplin’s untouchable genius as a director of silent comedy. Widely considered one of the greatest films ever, with MODERN TIMES Chaplin proves again what the whole world already acknowledges - that he is the greatest artist of the silent screen, the most eloquent master of mime, and the simplest, most essential, and most touching of comedians.

SATURDAY, OCTOBER 24 --- 5:45pm

SUNDAY, OCTOBER 25 --- 2:30pm

FINAL SHOW! - OCTOBER 25

THE MOST IMPORTANT FILM OF THE YEAR

In secret conversations on the rooftops of Tel Aviv at night, the systems behind Israel’s calculated mass killing of Palestinian civilians in Gaza are revealed by the people who designed and operated them.

FROM THE FILMMAKERS: We made this film out of a sense of obligation to use our position as Israeli filmmakers and journalists to examine the systems behind the mass killing of Palestinian civilians for which our country is responsible. While filming members of Israel’s military on rooftops at night in Tel Aviv over the past three years, we found ourselves asking the very questions that were asked by our grandparents’ generation and throughout the 20th century: how does one group of people allow the total dehumanization of another? What do the inner workings of such a system look like? Many of the revelations in the film were published almost immediately as we learned of them, in the months following the October 7th attacks, by The Guardian (one of NAZA’s producers), in collaboration with reporting partners +972 Magazine and Local Call. The film lets us explore something deeper than we could in our investigative journalism alone: not only the words being said but also those that are not said, the silence. It is up to all of us to break that silence.

FINAL SHOW!

SUNDAY, OCTOBER 25 --- 4:45pm

OCTOBER 27

Shot outside Pittsburgh on a shoestring budget, by a band of filmmakers determined to make their mark, NIGHT OF THE LIVING DEAD, directed by horror master George A. Romero, is a great story of independent cinema: a midnight hit turned box-office smash that became one of the most influential films of all time. A deceptively simple tale of a group of strangers trapped in a farmhouse who find themselves fending off a horde of recently dead, flesh-eating ghouls, Romero’s claustrophobic vision of a late-1960s America literally tearing itself apart rewrote the rules of the horror genre, combining gruesome gore with acute social commentary and quietly breaking ground by casting a Black actor (Duane Jones) in its lead role.

TUESDAY, OCTOBER 27 --- 7pm

OCTOBER 28

Horrifying and darkly comic, ROSEMARY'S BABY was Roman Polanski’s Hollywood debut. This wildly entertaining nightmare, faithfully adapted from Ira Levin’s best seller, stars a revelatory Mia Farrow as a young mother-to-be who grows increasingly suspicious that her overfriendly elderly neighbors (played by Sidney Blackmer and an Oscar-winning Ruth Gordon) and self-involved husband (John Cassavetes) are hatching a satanic plot against her and her baby. In the decades of occult cinema that Polanski’s ungodly masterpiece has spawned, it has never been outdone for sheer psychological terror.

WEDNESDAY, OCTOBER 28 --- 7pm

OCTOBER 29

Perhaps the most influential horror film of all time, William Friedkin’s masterpiece THE EXORCIST still astonishes and unsettles like no other movie. When young Regan (Linda Blair) starts acting odd -- levitating, speaking in tongues -- her worried mother (Ellen Burstyn) seeks medical help, only to hit a dead end. A local priest (Jason Miller), however, thinks the girl may be seized by the devil. The priest makes a request to perform an exorcism, and the church sends in an expert (Max von Sydow) to oversee. A horror film for adults, paced out carefully, graced by emotional subtlety and a spirit of intelligent questioning that never lets the viewer slip into complacency. The monster isn't lurking out there. It resides in us. Shown in the original theatrical version that shocked the world, this extraordinarily moving and terrifying film has lost none of its power.

THURSDAY, OCTOBER 29 --- 7pm

OCTOBER 30

For this domestic nightmare, Stanley Kubrick took a Stephen King best seller and infused it with his own demons and obsessions, creating a tour de force of dreamlike dread and disturbing ambiguity. Sequestered for the winter at the snowbound Overlook Hotel, a frustrated writer (Jack Nicholson), his increasingly fearful wife (Shelley Duvall), and their psychic son (Danny Lloyd) are plunged into a vortex of madness and violence—a psychosis that seems to emanate from the haunted, labyrinthine corridors of the building itself. Channeling historical trauma and contemporary anxieties about failed masculinity into images of surreal, subliminal power, Kubrick constructs a maelstrom of psychological terror that stands as one of the most endlessly analyzed horror films ever made.

FRIDAY, OCTOBER 30 --- 7pm