Terry Gilliam's 'Brazil'

The Academy announces the first ever Film-to-Film Festival, an event to celebrate its preservation efforts through Project Film-to-Film. The first edition will run September 27-29 at the Academy's Samuel Goldwyn and Linwood Dunn theaters. Project Film-to-Film launched a year ago with the intention of preserving as many films as possible over a two-year period, taking advantage of the currently available film stock to create new prints. Now over 390 films have been preserved.

The schedule for the Film-to-Film Festival is below. Ticketing information is available here.


Samuel Goldwyn Theater, 7:30 p.m.

BRAZIL (1985), Original Director’s Cut (35mm, color, 142 min.)
Onstage discussion with Katherine Helmond and Arnon Milchan
Writer-director Terry Gilliam’s “Brazil” is set in an alternative reality “somewhere in the 20th century,” where civil servant Sam Lowry (Jonathan Pryce) fights a hopeless battle against a totalitarian state. The film earned Academy Award® nominations for Original Screenplay (Gilliam, Tom Stoppard, Charles McKeown) and Art Direction (Art Direction: Norman Garwood; Set Decoration: Maggie Gray). The stellar supporting cast includes Helmond, Jim Broadbent, Robert De Niro, Ian Holm, Bob Hoskins, Charles McKeown and Michael Palin.


Linwood Dunn Theater, 7:30 p.m.

This program illustrates the wide range of films preserved by the Film-to-Film initiative, including a rare short made by the Academy itself, intriguing works by noted animators and the big-screen debut of crooner Phil Harris.

OF MEN AND DEMONS, John Hubley and Faith Hubley (1969, 16mm, color, 9 min.)
Academy Award nominee: Cartoon Short Subject

SO THIS IS HARRIS, Mark Sandrich (1933, 35mm, black-and-white, 28 min.)
Academy Award winner: Comedy Short Subject

THE UNICYCLE RACE, Robert Swarthe (1966, 35mm, color, 7 min.)

RAILWAY WITH A HEART OF GOLD, Carson “Kit” Davidson (1965, 16mm, color, 15 min.)
SCREEN ACTORS, (1950, 35mm, black-and-white, 9 min.)

Linwood Dunn Theater, 9:30 p.m.

The boundaries of the film medium are stretched, ignored and laughed at in these experimental shorts that manipulate sight, sound, narrative and the relationship between filmmaker and spectator.

EYE MYTH, Stan Brakhage (1967, 35mm, color, silent 24fps, 9 seconds)

NIGHT MULCH & VERY, Stan Brakhage (2001, 35mm, color, silent 24fps, 6 min.)

EXPERIMENTS IN MOTION GRAPHICS, John Whitney (1968, 16mm, color, sound, 11min.)

MADAME MAO’S LOST LOVE LETTERS, Tom Leeser & Diana Wilson (1983, 35mm, color, 
3 min.)

BABOBILICONS, Daina Krumins (1982, 35mm, color, 16 min.)
PENCIL BOOKLINGS, Kathy Rose (1978, 35mm, color, 14 min.)

FURIES, Sara Petty (1977, 35mm, color, 3 min.)