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February 17, 2020 at 7.30pm – 10.00pm

Aero Theatre

John Sayles Retrospective: Matewan & City of Hope

Discussion between films with director John Sayles, who will sign his new book, Yellow Earth, in the lobby at 6:30 PM.

Aero Theatre

1328 Montana Avenue
Santa Monica, CA 90403 United States

(310) 260-1528

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JOHN SAYLES: INDEPENDENT

Double Feature! Director John Sayles In Person!

MATEWAN / CITY OF HOPE

Co-presented by the UCLA Film & Television Archive and the Hugh M. Hefner Classic American Film Program

Discussion between films with director John Sayles, who will sign his new book, Yellow Earth, in the lobby at 6:30 PM.

L.A. Premiere of New Restoration!

 

MATEWAN

1987, Park Circus/MGM, 132 min, USA, Dir: John Sayles

Based on a true incident in the impoverished but coal-rich hills of West Virginia in the 1920s, writer-director John Sayles’ masterpiece is an unforgettable portrait of a community struggling to assert itself under the crushing dominance of capitalist greed. Chris Cooper (ADAPTATION) turns in his finest performance as labor organizer Joe Kenehan, with tremendous support from a cast that includes James Earl Jones, Mary McDonnell, David Strathairn and Sayles himself. The cinematography by Haskell Wexler (WHO’S AFRAID OF VIRGINIA WOOLF?, ONE FLEW OVER THE CUCKOO’S NEST, and winner of the 1992 ASC Lifetime Achievement Award) perfectly captures the haunted, bone-weary desperation of the miners and their families.

TRAILER 

CITY OF HOPE

1991, Sony Repertory, 129 min, USA, Dir: John Sayles

Director John Sayles demonstrates both his talent for characterization and his insightful approach to social issues with this ambitious ensemble piece. Vincent Spano plays the son of a contractor involved in a bitter property dispute that threatens to tear apart the New Jersey city where he lives, while Joe Morton plays an idealistic city councilman struggling to build a constituency. Their stories extend into the lives of dozens of supporting characters across race and class lines, all of whom are fully developed and painfully real. A thoughtful and moving portrait of early 1990s American life that is unfortunately even more relevant today in its vision of urban corruption and political maneuvering.

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