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TAG: 70mm

Three men in suits walk towards a camera in a storage room filled with paintings. The man in front carries a teacup and a suitcase.

Tenet

Nolan crafts an international espionage thriller whose seemingly inevitable doomsday scenario can only be averted through the manipulation of time, culminating in a set piece so technically precise yet frenetic that it demands to be seen as big and loud as possible. 
Three men in suits walk towards a camera in a storage room filled with paintings. The man in front carries a teacup and a suitcase.

Tenet

Nolan crafts an international espionage thriller whose seemingly inevitable doomsday scenario can only be averted through the manipulation of time, culminating in a set piece so technically precise yet frenetic that it demands to be seen as big and loud as possible. 
Two frames from the film 2001: A Space Odyssey showing the film projector sprockets on the side. The image is of a large black rectangle monolith standing straight in a white, ornate room with a glowing floor and statuaries on the walls.

2001: A Space Odyssey (70mm)

Stanley Kubrick’s mysterious and profound sci-fi epic—“the ultimate trip”—is about nothing less than the beauty and the banality of civilization. Screens 8/1-8/18.
Two frames from the film 2001: A Space Odyssey showing the film projector sprockets on the side. The image is of a large black rectangle monolith standing straight in a white, ornate room with a glowing floor and statuaries on the walls.

2001: A Space Odyssey (70mm)

Stanley Kubrick’s mysterious and profound sci-fi epic—“the ultimate trip”—is about nothing less than the beauty and the banality of civilization. Screens 8/1-8/18.
Two frames from the film 2001: A Space Odyssey showing the film projector sprockets on the side. The image is of a large black rectangle monolith standing straight in a white, ornate room with a glowing floor and statuaries on the walls.

2001: A Space Odyssey (70mm)

Stanley Kubrick’s mysterious and profound sci-fi epic—“the ultimate trip”—is about nothing less than the beauty and the banality of civilization. Screens 8/1-8/18.
Two frames from the film 2001: A Space Odyssey showing the film projector sprockets on the side. The image is of a large black rectangle monolith standing straight in a white, ornate room with a glowing floor and statuaries on the walls.

2001: A Space Odyssey (70mm)

Stanley Kubrick’s mysterious and profound sci-fi epic—“the ultimate trip”—is about nothing less than the beauty and the banality of civilization. Screens 8/1-8/18.
Two frames from the film 2001: A Space Odyssey showing the film projector sprockets on the side. The image is of a large black rectangle monolith standing straight in a white, ornate room with a glowing floor and statuaries on the walls.

2001: A Space Odyssey (70mm)

Stanley Kubrick’s mysterious and profound sci-fi epic—“the ultimate trip”—is about nothing less than the beauty and the banality of civilization. Screens 8/1-8/18.
Two frames from the film 2001: A Space Odyssey showing the film projector sprockets on the side. The image is of a large black rectangle monolith standing straight in a white, ornate room with a glowing floor and statuaries on the walls.

2001: A Space Odyssey (70mm)

Stanley Kubrick’s mysterious and profound sci-fi epic—“the ultimate trip”—is about nothing less than the beauty and the banality of civilization. Screens 8/1-8/18.
Two frames from the film 2001: A Space Odyssey showing the film projector sprockets on the side. The image is of a large black rectangle monolith standing straight in a white, ornate room with a glowing floor and statuaries on the walls.

2001: A Space Odyssey (70mm)

Stanley Kubrick’s mysterious and profound sci-fi epic—“the ultimate trip”—is about nothing less than the beauty and the banality of civilization. Screens 8/1-8/18.
A man, seen from behind, holding a closed umbrella and wearing a trenchcoat and rumpled hat stands near the top of an escalator, looking down on an vast office of cubicles.

Playtime

Jacques Tati’s artistic ambitions knew no bounds—for this bank-breaking comic masterpiece, he built Tativille, a sprawling set that was virtually an entire city. Screening 7/25–7/28.