Shirley Anne Field and Albert Finney in Saturday Night and Sunday Morning. 1960. Great Britain. Directed by Karel Reisz
These notes accompany screenings of Karel Reisz’s </em>Saturday Night and Sunday Morning</a> on August 28, 29, and 30 in Theater 3.</p>
Karel Reisz (1926–2002) was a Czech Jewish child rescued from the Nazis before World War II.
Shadows. 1960. USA. Directed by John Cassavetes
These notes accompany screenings of John Cassavetes’ </em>Shadows</a> on August 21, 22, and 23 in Theater 3.</p>
John Cassavetes (1929–1989) was a unique figure in the history of the American cinema, moving comfortably in Hollywood, but also a seminal director in what we now think of as independent film.
Monica Vitti in L’Avventura. 1960. Italy. Directed by Michelangelo Antonioni
These notes accompany screenings of Michelangelo Antonioni’s </em>L’Avventura</a> on August 14, 15, and 16 in Theater 3.</p>
After the success of Il Grido, Michelangelo Antonioni embarked on a series of films (L’Avvenutura, La notte, L’eclisse, Deserto rosso) that cemented his role
Eiji Okada and Emmanuelle Riva in Heroshima, mon amour. 1959. France. Directed by Alain Resnais
These notes accompany screenings of Alain Resnais’ </em>Night and Fog and Heroshima, mon amour</a> on August 7, 8, and 9 in Theater 3.</p>
If one includes the 8mm films that Alain Resnais, now 91 years old, made as an adolescent, he has one of the longest careers of any director in film history.
Jean-Paul Belmondo, Anna Karina, and Jean-Claude Brialy in a publicity still for A Woman Is a Woman. 1961. France. Directed by Jean-Luc Godard
These notes accompany screenings of Jean-Luc Godard’s </em>A Woman Is a Woman</a> on July 31 and August 1 in Theater 2.</p>
As Breathless deconstructs the Hollywood gangster film
Shoot the Piano Player. 1960. France. Directed by Francois Truffaut
These notes accompany screenings of Pierre Etaix’s Happy Anniversary and Francois Truffaut’s </em>Shoot the Piano Player</a> on July 24, 25, and 26 in Theater 3.</p>
Pierre Etaix, now 84, has almost single-handedly kept the concept of physical comedy alive in France (the legacy of Max Linder and Rene Clair)
Audrey Hepburn in Breakfast at Tiffany’s. 1961. USA. Directed by Blake Edwards
These notes accompany screenings of Blake Edwards’s </em>Breakfast at Tiffany’s</a> on July 17, 18, and 19 in Theater 3.</p>
With the possible exception of Robert Aldrich, Blake Edwards (1922–2010) is, I think, the most important director to emerge from the shambles of the Hollywood studio system
Two Daughters. 1961. India. Written, directed, and music composed by Satyajit Ray
These notes accompany screenings of Satyajit Ray’s </em>Two Daughters</a> on July 10, 11, and 12 in Theater 2.</p>
In the six years following his debut with Pather Panchali</a>
Jean-Paul Belmondo and Jean Seberg in Breathless. 1960. France. Directed by Jean-Luc Godard
These notes accompany screenings of Jean-Luc Godard’s </em>Breathless</a> on July 3 and 4 in Theater 2.</p>
To give Jean-Luc Godard’s A bout de soufflé (Breathless) its proper place in film history would require a great deal more space than is available here
Martin Lasalle in Pickpocket. 1959. France. Directed by Robert Bresson
These notes accompany screenings of Robert Bresson’s </em>Pickpocket</a> on June 26, 27, and 28 in Theater 2.</p>
Robert Enrico (1931–2001), a contemporary of the French New Wave directors—but one who actually went to film school
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