Dean Otto currently serves as the Curator of Film. To learn more about Dean and the Speed Cinema, read the full press release here. Photo by Rafael Gamo.
The feature documentary tells the story of Alphonse Mucha from the perspective of his son, the writer and bon-vivant Jiří Mucha, with an abundance of re-enactments, animations, archive footage as well as paintings, and photos.
November 19 & 20
Director Salomè Jashi’s visually beguiling documentary questions who is allowed to have access to nature—especially old growth trees when money is scarce.
November 18 & 19
When an uncommonly long drought threatens everything they know, Virginio and Sisa must decide whether to stay and maintain their traditional way of life or admit defeat and move in with family members in the city.
Co-presented by the Louisville Film Society, local filmmakers will present short works of fifteen minutes or less followed by questions and comments from the audience.
November 11, 12, & 13
In this astonishing documentary, celebrated independent filmmaker Nina Menkes explores the sexual politics of cinematic shot design.
October 26 & 27
Roots So Deep (you can see the devil down there) is a 4-part documentary series all about inventive farmers and maverick scientists building a path to solving climate change with hooves, heart, and soil.
October 21, 22, & 23 and October 28, 29, & 30
The 22nd Annual Animation Show of Shows returns with a new edition comprised of 10 films–nine recent, along with one restored classic–which deal with both the anxieties and hopes of a world faced with a seemingly endless series of existential crises.
The only feature from the radical Afro-Cuban filmmaker Sara Gómez—who also worked as an assistant director with Agnès Varda and Tomás Gutiérrez Alea before her untimely death at age thirty-one—is an extraordinary portrait of post-revolution Cuba.
October 14, 15, & 16
Welcome to Riotsville, USA, a point in American history when the nation’s rulers—politicians, bureaucrats, and police—were faced with the mounting militancy of the late 1960s and did everything possible to quash dissent in the streets.
Art & Krimes by Krimes is a documentary about creativity spurred by confinement and loss. While locked up for six years in federal prison, artist Jesse Krimes secretly creates monumental works of art—including an astonishing 40-foot mural made with prison bed sheets, hair gel, and newspaper. He smuggles out each panel piece-by-piece with the help of fellow artists, only seeing the mural in totality upon coming home.
In the final chapter of François Truffaut’s saga, we find Doinel (Jean-Pierre Léaud), now in his thirties, convivially concluding his marriage, enjoying moderate success as a novelist, and clinging to his romantic fantasies.
The fourth installment in François Truffaut’s chronicle of the ardent, anachronistic Antoine Doinel, Bed and Board plunges his hapless creation once again into crisis.
The short film Antoine and Collette is second in the Antoine Doinel series. Doinel is 17, lives in a hotel and works in a factory making records as he’s obsessed with music. He falls in love with a woman he meets at a concert. While she sees him as just a friend her parents love him.
François Truffaut’s first feature is also his most personal. Told through the eyes of Truffaut’s cinematic counterpart, Antoine Doinel (Jean-Pierre Léaud), The 400 Blows sensitively re-creates the trials of Truffaut’s own childhood, unsentimentally portraying aloof parents, oppressive teachers, and petty crime.
Director Chinonye Chukwu travels to the 1950s to tell the story of Mamie Till-Mobley, the Chicago woman whose son, Emmett Till, was lynched while visiting cousins in Mississippi and whose body became an indelible image of the horrors of American racism.
October 1 & 2
Loving Highsmith is a unique look at the life of celebrated American author Patricia Highsmith based on her diaries and notebooks and the intimate reflections of her lovers, friends, and family.
September 30 & October 1
Why are we still able to watch moving images captured over 125 years ago? As me move ever further into the digital age, our audiovisual heritage seems to be taken increasingly for granted; however, much of filmed history has already been lost forever.