Tut’s Fever Movie Palace
Tut’s Fever is a working movie theater and art installation created by Red Grooms and Lysiane Luong, an homage to the ornate, exotic picture palaces of the 1920s
You can buy admission tickets online. Pick a date and time to visit the Museum. Timed-entry slots are released generally one-month prior. All sales are final and payments cannot be refunded.
Tut’s Fever is a working movie theater and art installation created by Red Grooms and Lysiane Luong, an homage to the ornate, exotic picture palaces of the 1920s
The Museum's core exhibition immerses visitors in the creative and technical process of producing, promoting, and presenting films, television shows, and digital entertainment.
This dynamic experience explores Jim Henson’s groundbreaking work for film and television and his transformative impact on culture.
Refreshing the Loop continues Museum of the Moving Image’s tradition of displaying GIFs in our passenger elevator. This new iteration places artists who have been widely known for their GIFs for more than two decades in conversation with selected artists who have gained notable popularity in the last few years.
With material drawn from MoMI’s permanent collection, this exhibit explores the film’s production and makeup design, detailing how a stylish townhouse in Georgetown, Washington, D.C., and an innocent young girl were transformed into sites of horror.
Shot in the Roosevelt Ave/Jackson Heights station, this installation video captures the tide of New Yorkers streaming through an entrance to the subway system in what the filmmakers refer to as a “collective ballet.”
Eva Davidova’s participatory installation playfully incorporates both ancient myth and contemporary reality, highlighting the theme of interdependent responsibility in the wake of ecological disaster.
David Levine’s Dissolution is a jewel-box sculpture that conjures the past and future of the moving image. A 20-minute film played on a loop, it draws on the central conceit of iconic 1980s movies and TV shows such as Tron and Max Headroom: human characters who find themselves dematerialized and confined within the interior worlds of electronic devices.
On the occasion of Todd Haynes’s May December, MoMI presents an exhibit with materials from the archives of filmmaker Todd Haynes, now part of the Museum’s collection, offering a glimpse into his process of transforming historical and cultural referents into formally ambitious, richly emotional films.
Buster Keaton's lovingly detailed parody of the legendary feud between the Hatfields of West Virginia and McCoys of Kentucky is filled with perfectly timed sight gags that culminate in one of Keaton’s literally death-defying set pieces. Screening 12/9 and 12/16.
A pair of deeply emotional stories of obsession from different time periods ultimately converge in Todd Haynes’s wondrous adaptation of Brian Selznick’s beautifully conceived and illustrated young adult novel, screening 12/8 and 12/9.
The Museum’s complete Todd Haynes retrospective kicks off December 1 with a special evening featuring the filmmaker himself, alongside a selection of his rarely screened early works, including The Suicide and Assassins: A Film Concerning Rimbaud.
Todd Haynes’s kaleidoscopic portrait of the seminal sixties rock group The Velvet Underground explodes the music documentary form. Screens 12/9 and 12/17.
This screening of works from legendary documentarian Manfred Kirchheimer on 12/9, including two world premieres, honors the diverse and remarkable career of one New York City's most invaluable cinematic chroniclers. With Kirchheimer in person!
Haynes’s spectacular and ambitious musical, screening 12/9 and 12/17, charts the rise of glam rock and the star who was the movement’s brightest flame, functioning as both history and dream.
An authentic, intimate observation of war as it unfolds, In the Rearview follows multiple generations of Ukrainian civilians as they abruptly abandon their homes and rely on the help of the director volunteer aid van to escape the life-threatening conflict. With director Maciek Hamela in person 12/9.