|Welcome back cinema friends!|
Change, as always, is afoot at our humble cinematheque. As you may have noticed, our newsletters have been streamlined these last few weeks. This, however, will serve as the first of a more robust monthly letter, spotlighting series and events at the Cinema as well as providing a roundup of what we’ve been reading and writing in between.
Beyond that, I’d like to introduce you to our Letterboxd. For the uninitiated, this is social media for the love of film. Unlike the endless scroll of Facebook and its ilk, Letterboxd is purely for building community around cinema. Built on top of a massive database of films, casual users and professional critics alike can log—as academically or frivolously as their mood suits—their adventures in moviegoing.
|Ragtag Cinema’s Letterboxd HQ is an ever growing home to Lists of our seasons and series; a Diary that serves as a living archive of every film ever shown at Ragtag down to the exact date (with more titles being added as we delve deeper into our internal archaeological digs); featured reviews from our staff and patrons; as well as the kind of longer-form write ups you’ve found in our past newsletters.|
Follow us to discover our programming, build your watchlist, rate, review and chart your life in films. App-averse? Look to these emails as a digest—we won’t leave you in the dark.
October and November—from the gutter to the red carpet—we’re indulging in horror and presenting awards-season prestige.
Our annual Ragtag of Terrors returns this year with a focus on the millennium and the styles, waves, and generations it shaped… as well as the films that new generations have reshaped and reclaimed. New cult classics are coined, and misunderstood cast-offs reemerge as rebellious and empowering. Kicking off with an Extra Credit presentation of Jennifer’s Body on Monday, October 10 featuring a panel discussion on gender and genre.
Films fresh off of festival premiers from familiar and international auteurs—crowned with Audience-Awards and Palme d’Ors—arrive ahead of the Oscars, while titles of a smaller-scale make big impressions with selections from New York's New Directors New Films (with Martine Syms’ The African Desperate) and our own True/False Film Fest.
All throughout, Show Me community conversations spotlight LGBTQ history (The Times of Harvey Milk) and the future of indigenous storytelling (2022 Sundance Institute Indigenous Short Films).
All of this and more is in the October & November print edition of our program guide, found here, in your mailbox, or at the Box Office.
Finally, as we continue our Frederick Wiseman: Institutions series with the Murray Center for Documentary Journalism, Wiseman himself will be appearing for a Masterclass this Sunday, October 9 at 12pm. Joining us remote from Paris, Wiseman will discuss his philosophy and approach to building immersive nonfiction portraits for over seven(!) decades. The event is moderated by Murray Center’s Filmmaker-in-Chief Robert Greene, and tickets are on sale now.