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65th) unless otherwise noted The Age of Innocence Martin Scorsese, USA, 1993, 139m Adapting Edith Wharton’s 1925 novel about a secret passion within the enclosed social universe of 19th-century New York struck many as an odd departure for Martin Scorsese.Upon release in 1993, The Age of Innocence was greeted with equal amounts of admiration and puzzlement, but today it feels like one of Scorsese’s greatest achievements—as visually expressive as it is emotionally fine-tuned.Saturday, December 23, pm Friday, January 5, pm All That Heaven Allows Douglas Sirk, USA, 1955, 35mm, 89m Both a heartbreaking melodrama and a sharp indictment of hypocrisy in 1950s America, this epitome of layered Hollywood filmmaking follows the blossoming love between upper-middle-class suburban widow Cary (Jane Wyman) and her handsome, considerably younger gardener, Ron (Rock Hudson).

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To complement the features in the series, a selection of exquisite short films have been thematically paired with key selections: animator Stacey Steers’s handmade collage films Edge of Alchemy and Night Hunter, which feature repurposed footage of Janet Gaynor and Lillian Gish, screen with Murnau’s Sunrise and Victor Sjöström’s The Wind, respectively; Sirk’s Imitation of Life is preceded by artist Ming Wong’s subversive re-staging Life of Imitation, and his In Love for the Mood shows prior to Wong Kar Wai’s swoon-worthy In the Mood for Love; Mark Rappaport’s video essay examination of a favorite Hollywood prop, The Vanity Tables of Douglas Sirk, is presented with Sirk’s heartbreaking All That Heaven Allows; shorts by George Kuchar and Guy Maddin precede their feature-length films; and more.

Wednesday, December 13, pm Monday, January 1, pm Back Street Robert Stevenson, USA, 1941, 35mm, 89m The second (of three) Universal adaptations of Fannie Hurst’s turn-of-the-19th-century-set novel stars Margaret Sullavan and Charles Boyer (possessors of two of the best voices in classic Hollywood: she with her musical rasp, he with his luxuriantly accented baritone) as adulterous lovers whose brief encounter stretches into a decades-long affair, with her forever living in the shadows as the “other woman.” One of the few films made under the Production Code to deal sympathetically with marital infidelity, this elegant tearjerker overflows with dreamily romantic moments: the couple lounging under a cloud-filled sky, a chance meeting on a snow-shrouded New York sidewalk, and the quietly devastating liebestod of the climax.