{"id":197174,"date":"2026-04-14T18:45:08","date_gmt":"2026-04-14T18:45:08","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-ny\/197174\/"},"modified":"2026-04-14T18:45:08","modified_gmt":"2026-04-14T18:45:08","slug":"momi-announces-summer-film-programs-focusing-on-america-250-brian-de-palma-and-more","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-ny\/197174\/","title":{"rendered":"MoMI announces summer film programs focusing on America 250, Brian De Palma, and more"},"content":{"rendered":"

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\"2001:Astoria, New York (April 9, 2026)\u00a0\u2014\u00a0Museum of the Moving Image announces major summer film programs, including a series celebrating films about, for, and by the American people to coincide with the nation\u2019s 250th anniversary; a focus on Philippine nonfiction; a retrospective of Brian De Palma; a look at the culture wars of the 1980s and \u201990s as reflected in film, timed to coincide with Isaac Butler\u2019s new book\u00a0The Perfect Moment: God, Sex, Art, and the Birth of America\u2019s Culture Wars; and its annual summer festival of 70mm films.

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\nAdditional programs and information will be posted as they are confirmed.<\/p>\n


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By the People, For the People:\u00a0Real American Tales\u00a0

\nMay 22\u2013July 5

\nAs our country celebrates 250 years, this screening series takes its own approach, choosing to highlight films that take on the perspective of the nation\u2019s historically marginalized and less\u00a0frequently\u00a0represented on screen. From films about collective labor and the underclasses\u00a0(Matewan, The Grapes of Wrath, Days of Heaven)\u00a0to immigrant communities\u00a0(The Exiles, Los Sures)\u00a0and the disenfranchised\u00a0(Native Land, Nothing but a Man, Buddies), these films ask what the term \u201cAmerican\u00a0cinema\u201d means\u2014and what it perhaps could mean\u00a0in an ideal world.\u00a0

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\nHeart on Fire, Brain on Ice: Philippine Nonfiction since 2000\u00a0

\nMay 22\u201331\u00a0

\nDirect and political in their aims, these documentaries, features and shorts mostly unreleased and unseen in the United States, take a clear-eyed view of the Philippines’ most exploited\u2014landless peasant farmers, urban poor displaced by development, generations of indigenous families affected by toxic waste left behind by U.S. military bases\u2014as well as those among them who are agitated to resist. The filmmakers are often intimately if not directly affected by the repression they capture, and the films are made by and with activists who have integrated with the communities they follow on the ground. Occasionally surreal, sometimes\u00a0absurd,\u00a0these films\u2014which run the gamut from the U.S. premiere of JL Burgos\u2019s\u00a0Alipato at Muog\u00a0to John Gianvito\u2019s four-hour-plus\u00a0Wake (Subic)\u2014maintain\u00a0a firm grip on the visceral reality that binds their struggles together. \u00a0Guest programmed by A.E. Hunt.\u00a0

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\nDe Palma: Summer of Suspense\u00a0

\nJune 12\u2013July 26\u00a0

\nAfter cutting his teeth on experimental cinema and political protest films, Brian De Palma turned to the thriller, parlaying his fascination for the mechanics of Alfred Hitchcock\u2019s cinema into a career-long inquiry into movie suspense. The result has been decades of bona fide classics that playfully risk absurdity\u2014and controversy\u2014by pushing horror, suspense, noir, and action movie grammar into realms of self-conscious artifice that might have made Hitch himself blush. From 1973\u2019s gonzo\u00a0Sisters\u00a0to 1980\u2019s erotic nightmare\u00a0Dressed to Kill\u00a0(both unofficial remakes of\u00a0Psycho); from his florid eighties and nineties gangster epics\u00a0Scarface, The Untouchables, and\u00a0Carlito\u2019s Way\u00a0to his dream-within-a-dream-within-a-dream hallucinations\u00a0Raising Cain\u00a0and\u00a0Femme Fatale, De Palma has not been paying homage as much as allowing us to enter his own extreme movie fantasy worlds\u2014all of them created with impeccable craft that\u00a0pushes genre conventions (and viewers) to the breaking point.\u00a0

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\nCulture Wars!\u00a0

\nJune 26\u2013July 12\u00a0

\nIn the late eighties and early nineties, American artists found themselves in the crosshairs of an ascendant conservative coalition. As the Republican party increasingly aligned itself with the religious right, politicians like Jesse Helms, Pat Buchanan, and Pat Robertson took it upon themselves to root out alleged deviance in both avant garde and popular art, particularly when the artists involved had received government funding.\u00a0 This wasn\u2019t limited to controversial photographers and painters such as Robert Mapplethorpe, Andres Serrano, and David Wojnarowicz but also affected a great number of important filmmakers, from major Hollywood figures like Martin Scorsese to fierce independent voices on the rise, like Todd Haynes, Cheryl Dunye, Marlon Riggs, and Gregg Araki. Naturally, in the midst of the AIDS crisis\u2014and the Reagan administration\u2019s callous response to it\u2014many of these films were queer themed.

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\nThis new screening series was programmed in conjunction with Isaac Butler\u2019s new book\u00a0The Perfect Moment: God, Sex, Art, and the Birth of America\u2019s Culture Wars\u00a0(2026, Bloomsbury Publishing),\u00a0which reexamines this vital\u2014and sadly influential\u2014historical moment,\u00a0highlighting films that provoked the ire\u00a0of these wannabe censors.\u00a0Butler will appear in\u00a0person, both in\u00a0conversation and to introduce\u00a0some of\u00a0these\u00a0landmark films\u2014all of them \u201cdangerous\u201d and wildly entertaining.\u00a0

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\nSee It Big:\u00a070mm!

\nJuly 31\u2013August 30

\nMoMI\u2019s\u00a0annual summer tradition returns with a thrilling\u00a0selection\u00a0of films screening in 70mm prints.\u00a0With a larger frame size that captures more detail and light,\u00a070mm\u00a0offers the biggest, brightest image\u2014the ideal film format for\u00a0ambitious\u00a0cinematic spectacle. The centerpiece\u00a0remains\u00a02001: A Space Odyssey,\u00a0and\u00a0there\u2019s\u00a0nowhere better in New York to watch Stanley Kubrick\u2019s monolithic masterpiece than in the Sumner M. Redstone Theater, which was\u00a0designed with an eye towards its space-age aesthetic. More exciting titles to be announced!\u00a0Presented by MUBI\u00a0

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\nAbout Museum of the Moving Image

\nMoMI celebrates the history, art, technology, and future of the moving image in all of its forms. Located in Astoria, New York, the Museum presents exhibitions; screenings; discussion programs featuring actors, directors, and creative leaders; and education programs. It houses the nation\u2019s most comprehensive collection of moving image artifacts and screens over 500 films annually. Its exhibitions\u2014including the core exhibition\u00a0Behind the Screen\u00a0and\u00a0The Jim Henson Exhibition\u2014are noted for their integration of material objects, interactive experiences, and audiovisual presentations. For more information about MoMI, visit\u00a0movingimage.org<\/a>.<\/p>\n


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