My First Film (2024) — Zia Anger

United States, DCP, 100 mins.

Zia Anger’s absorbing, semi-autobiographic metafiction captures the failures of Vita (Odessa Young), a 25-year-old artist trying to make a nebulously personal movie in 2010. Reflecting on the preoccupations of a creative coming-of-age protagonist, Anger re-creates authentically uncomfortable, hilarious, and chaotic moments on set and behind the scenes with a cast and crew of friends and family. The beguiling result takes audiences through a circuitous unraveling to ask what it means to be a voyeur of one’s own messy life. Featuring a cameo by Sarah Michelson as an abortion doctor and music by Perfume Genius.

My First Film (2024) — Zia Anger

United States, DCP, 100 mins.

Zia Anger’s absorbing, semi-autobiographic metafiction captures the failures of Vita (Odessa Young), a 25-year-old artist trying to make a nebulously personal movie in 2010. Reflecting on the preoccupations of a creative coming-of-age protagonist, Anger re-creates authentically uncomfortable, hilarious, and chaotic moments on set and behind the scenes with a cast and crew of friends and family. The beguiling result takes audiences through a circuitous unraveling to ask what it means to be a voyeur of one’s own messy life. Featuring a cameo by Sarah Michelson as an abortion doctor and music by Perfume Genius.

An Autumn Afternoon [Sanma no aji] (1962) — Yasujirô Ozu

Japan, 35MM, 113 mins.

An Autumn Afternoon [Sanma no aji] (1962) — Yasujirô Ozu

Japan, 35MM, 113 mins.

An Autumn Afternoon [Sanma no aji] (1962) — Yasujirô Ozu

Japan, 35MM, 113 mins.

An Autumn Afternoon [Sanma no aji] (1962) — Yasujirô Ozu

Japan, 35MM, 113 mins.

An Autumn Afternoon [Sanma no aji] (1962) — Yasujirô Ozu

Japan, 35MM, 113 mins.

An Autumn Afternoon [Sanma no aji] (1962) — Yasujirô Ozu

Japan, 35MM, 113 mins.

Late Autumn [Akibiyori] (1960) — Yasujirô Ozu

Japan, 35MM, 128 mins.

Late Autumn [Akibiyori] (1960) — Yasujirô Ozu

Japan, 35MM, 128 mins.

Late Autumn [Akibiyori] (1960) — Yasujirô Ozu

Japan, 35MM, 128 mins.

Late Autumn [Akibiyori] (1960) — Yasujirô Ozu

Japan, 35MM, 128 mins.

Late Autumn [Akibiyori] (1960) — Yasujirô Ozu

Japan, 35MM, 128 mins.

Late Autumn [Akibiyori] (1960) — Yasujirô Ozu

Japan, 35MM, 128 mins.

Blast of Silence (1961) — Allen Baron

United States, DCP, 71 mins.

Equinox Flower [Higanbana] (1958) — Yasujirô Ozu

Japan, 35MM, 118 mins.

Equinox Flower [Higanbana] (1958) — Yasujirô Ozu

Japan, 35MM, 118 mins.

Equinox Flower [Higanbana] (1958) — Yasujirô Ozu

Japan, 35MM, 118 mins.

Equinox Flower [Higanbana] (1958) — Yasujirô Ozu

Japan, 35MM, 118 mins.

Equinox Flower [Higanbana] (1958) — Yasujirô Ozu

Japan, 35MM, 118 mins.

Equinox Flower [Higanbana] (1958) — Yasujirô Ozu

Japan, 35MM, 118 mins.

Good Morning [Ohayô] (1959) — Yasujirô Ozu

Japan, 35MM, 94 mins.

Pure Grit (2021) — Kim Bartley

Ireland/United States, DCP, 92 mins.

Good Morning [Ohayô] (1959) — Yasujirô Ozu

Japan, 35MM, 94 mins.

Good Morning [Ohayô] (1959) — Yasujirô Ozu

Japan, 35MM, 94 mins.

Good Morning [Ohayô] (1959) — Yasujirô Ozu

Japan, 35MM, 94 mins.

Good Morning [Ohayô] (1959) — Yasujirô Ozu

Japan, 35MM, 94 mins.

Good Morning [Ohayô] (1959) — Yasujirô Ozu

Japan, 35MM, 94 mins.

Bona (1980) — Lino Brocka

Philippines, DCP, 85 mins.

“To claim that Lino Brocka has influenced our cinema is not accurate. Lino Brocka is part of our DNA, part of our national psyche,” said Lav Diaz, one of the icons of contemporary Filipino cinema. Coming to international attention thanks to Pierre Rissient in the mid-1970s, Brocka’s cinema has imposed itself with disruptive force since his first appearance at Cannes’ Directors’ Fortnight in 1978.

This event is presented by the Department of Asian and Middle Eastern Studies and sponsored by the University of Minnesota Imagine Fund

New Restoration! Admission is free at the door

Playing as part of Archives on Screen

King of Chinatown (1939) — Nick Grinde

United States, 35MM, 57 mins.