The Trylon Microcinema

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TIME’S RELENTLESS MELT: THE CINEMATOGRAPHY OF HASKELL WEXLER

IN THE HEAT OF THE NIGHT

The Trylon microcinema

Sun Apr 23 3:00
Mon Apr 24 7:00 9:15
Tue Apr 25 7:00 9:15

(1967, DCP, 109m) dir Norman Jewison w/Sidney Poitier, Rod Steiger, Warren Oates. Philadelphia homicide detective Virgil Tibbs (Poitier) is mistakenly arrested at a train station in Sparta, Mississippi, and becomes embroiled in a local murder case. Wexler’s toned-down lighting was the first tailored to an African American’s skin color.

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A CENTURY OF WOMEN FILMMAKERS

FAST TIMES AT RIDGEMONT HIGH

The Trylon microcinema

Fri Apr 28 7:00 9:00
Sat Apr 29 7:00 9:00
Sun Apr 30 5:00 7:00

(1982, DCP, 90m) dir Amy Heckerling w/Sean Penn, Jennifer Jason Leigh, Judge Reinhold. Fast Times follows a group of high schoolers as they navigate classes, dead-end jobs, and romance. Though Cameron Crowe’s script is often remembered for its loveable banter, it also marked Heckerling’s confident directorial debut.

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TIME’S RELENTLESS MELT: THE CINEMATOGRAPHY OF HASKELL WEXLER

DAYS OF HEAVEN

The Trylon microcinema

Sun Apr 30 3:00
Mon May 01 7:00 9:00
Tue May 02 7:00 9:00

(1978, 35mm, 94m) dir Terrence Malick w/Richard Gere, Brooke Adams, Sam Shepard. After an accidental murder, three desperately poor Chicagoans flee to the Texas Panhandle for field work. Although Wexler’s screen credit is for additional photography (supporting Néstor Amendros), he said he once clocked the movie with a stopwatch to verify that he had shot more than half of it. Days of Heaven is often considered one of the most beautiful films ever made. Screenings of Days of Heaven are made possible with support from The Cult Film Collective.

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THE NINTH ANNUAL HITCHCOCK FILM FESTIVAL

FRENZY

The Riverview

Mon May 01 7:00
A Trylon Roadshow at the Riverview Theater!
(1972, DCP, 116m) dir Alfred Hitchcock w/Jon Finch, Alec McCowen. In his penultimate film, Hitchcock tells the story of a serial killer terrorizing London. Although the explicitly sexual nature of the murders may be a departure, the film’s most critical feature is pure Hitchcock. From the very start, we come to know our killer, sympathize, and become... accomplices?
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