Zombie aka Zombi 2
Italian horror maestro Lucio Fulci returns to the racialized origins of the zombie narrative with what was originally conceived as a sequel to George A. Romero’s Dawn of the Dead.
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Italian horror maestro Lucio Fulci returns to the racialized origins of the zombie narrative with what was originally conceived as a sequel to George A. Romero’s Dawn of the Dead.
This new exhibition invites visitors of all ages to appreciate the painstaking work of stop-motion animation, with eight animation stations equipped with 2-D LAIKA character figures and environments that visitors can use to experiment with and create their own short films.
Please note: This screening has been canceled due to the distributor's decision to withdraw the film from circulation temporarily.
In Walter Hill’s neo-noir cum outlaw-biker rock opera, fifties nostalgia fuels a futuristic Americana fantasy that’s all neon, chrome, fire, and steam. Screening in 70mm, August 27–Sep. 4.
Screening September 2, Pacho Velez's new documentary is a portrait of the city as seen through the eyes of people looking for love on various dating apps, with the filmmaker and special guests in person.
You have two more chances to see this gorgeous 70mm print of Walt Disney’s classic 1959 fairy tale, at the time the most expensive animated film ever made. Screening September 3 and 5!
Though somewhat forgotten, this film harnesses stock footage with a rather clear-eyed view of the cost of war and a pervasive eeriness that eclipses its dated special effects.
This film marks the slow-building shift toward a more “raceless” zombie figure, discarding the symbolically Black trappings of Haiti and voodoo.
Paul Thomas Anderson's acclaimed misfit romance plays at MoMI on 70mm August 12–September 3.
While other zombie films of the era were more preoccupied with the “atomic” zombie—a manifestation of scientific overreach rather than a mystical being—Cahn’s film contains prescient imagery to which several later zombie films may trace their lineage.
This groundbreaking feature follows rebel computer programmer Kevin Flynn as he is scanned and transported into an autocratic universe of zipping vectors and shiny surfaces, somewhere inside the mainframe of an arcade game.
This film marks the slow-building shift toward a more “raceless” zombie figure, discarding the symbolically Black trappings of Haiti and voodoo.