The Criterion Collection

Following a hugely successful stay at New York’s Film Forum, a series of Robert Bresson titles in new 35 mm prints will be making its way across North America over the coming months. This week, viewers will have a chance to experience some of Bresson’s singular works on the big screen at Berkeley’s Pacific Film Archive (Diary of a Country Priest, January 28; Pickpocket, January 28), Cambridge’s Harvard Film Archive (Mouchette, January 27; Au hasard Balthazar, January 30), and Chicago’s Gene Siskel Film Center (Les dames du Bois de Bologne, January 28 and 30). But that’s not all these essential art-house theaters are offering: Henri-Georges Clouzot’s Diabolique leaves a wet footprint at Pacific (January 27), Sergei Eisenstein’s Ivan the Terrible, Part I and Part II reigns supreme at Siskel (January 29 and February 1), and Harvard offers two great contemporary art films, Claire Denis’ White Material (January 28) and Wong Kar-wai’s In the Mood for Love (January 31).

Other Criterion titles playing on big screens this week include: Terrence Malick’s spellbinding Days of Heaven at the Strand Theatre in Rockland, Maine (January 28 and 29); Rainer Werner Fassbinder’s futuristic epic World on a Wire at Cambridge’s Brattle Theatre (January 28); Richard Linklater’s tribute to high-school slackerdom, Dazed and Confused, at Cinema City at the Palace in Hartford, Connecticut (January 27 and 28); Nicolas Roeg’s starstruck The Man Who Fell to Earth, with David Bowie, at the Bijou Theatre in Bridgeport, Connecticut (January 27); Saul J. Turell’s Oscar-winning documentary Paul Robeson: Tribute to an Artist at New York’s Museum of Modern Art (February 1); Wes Anderson’s breakthrough comedies Bottle Rocket (January 27) and Rushmore (February 2), Carol Reed’s evocative The Third Man (January 30 and 31), and Wong Kar-wai’s runaway romance Chungking Express (February 1) at the Cornell Cinema in Ithaca; Bob Rafelson’s poignant portrait Five Easy Pieces at George Eastman House’s Dryden Theatre in Rochester, New York (February 1); and Hiroshi Teshigahara’s Woman in the Dunes digs in at the Pittsburgh Regent Theater (January 29).

Stanley Kubrick’s The Killing races down to the Enzian Theater in Maitland, Florida (January 31); Andrei Tarkovsky’s Andrei Rublev rings those bells up at the Detroit Film Theatre (January 28); Wim Wenders’s Wings of Desire materializes at the Indiana University Cinema in Bloomington (January 30); Orson Welles’s F for Fake is a treat and a trick for viewers at the Block Cinema in Evanston, Illinois (January 27); Alfred Hitchcock’s Spellbound gives audiences nightmares at the Lindo Theatre in Freeport, Illinois (February 1); Michelangelo Antonioni’s Red Desert drifts to both the Denver Film Center (January 31) and the International Film Series in Boulder (February 1); Jules Dassin’s Thieves’ Highway barrels to the Castro Theatre in San Francisco (January 27); Lars von Trier’s Europa rides the rails to the Los Angeles County Museum of Art (February 2); Charlie Chaplin’s Modern Times kicks it into high gear at the Regency Buenaventura 6 in Ventura, California (February 2); and Peter Davis’s Hearts and Minds screens at Los Angeles’s Aero Theatre as a tribute to the late producer Bert Schneider.

Meanwhile, in Canada, Douglas Sirk’s All That Heaven Allows wrings tears at the Calgary Cinematheque (January 29), and Tarkovksy’s Solaris spaces out at Toronto’s TIFF Lightbox (January 29 and February 2). Crossing the Atlantic: London’s BFI Southbank is still at sea with ongoing screenings of Jean Vigo’s L’Atalante and offers David Lean’s dazzling Dickens adaptation Oliver Twist (February 1) as well; the Glasgow Film Theatre tells tales with John Schlesinger’s Billy Liar (January 29); Paris’s Cinémathèque française has multiple personalities with Robert Altman’s Short Cuts (January 30); the Institut Lumière in Lyon sees red with Samuel Fuller’s Pickup on South Street (January 27–29); the Institut de l’image in Aix-en-Provence comes of age with Maurice Pialat’s À nos amours (January 30); Stockholm’s Swedish Film Institute projects Peter Bogdanovich’s The Last Picture Show (January 29) and cleans up with Luis Buñuel’s Diary of a Chambermaid (February 1); Brussels’s Belgian Cinematek puts forth its usual wide-ranging slate with Louis Malle’s The Lovers (January 28), Otto Preminger’s Anatomy of a Murder (January 30), The Last Picture Show (January 30), François Truffaut’s Jules and Jim (January 30), Jean-Luc Godard’s Vivre sa vie (January 31), and Pier Paolo Pasolini’s Mamma Roma (February 2); the Swiss Cinematheque in Lausanne goes to the devil with Chaplin’s The Great Dictator (January 29) and Benjamin Christensen’s Häxan (February 1); and the Centro Galego de Artes da Imaxe in Galacia, Spain, favors Federico Fellini—I vitelloni (January 31) and La strada (February 1).