Latest news with #GeorgeEastmanMuseum
Yahoo
03-05-2025
- Entertainment
- Yahoo
Rochester Cocktail Revival returns June 2
ROCHESTER, N.Y. (WROC) – The Rochester Cocktail Revival is set to return for its twelfth year on June 2. The weeklong festival is made possible by over 30 Rochester bars and arts venues that host over 70 events across downtown Rochester. Some events at the festival include: June 2: RCR Launchpad Party at Genesee Valley Club June 4: A Diamond Jubilee Garden Party at the George Eastman Museum June 5: Italian Spirits that Conquered the Cocktail World seminar and happy hour with Dale DeGroff June 6: High Falls Happy Hour and street fair June 7: The Spirit Tasting Spectacular at The Metropolitan June 8: The Bar Room Battle Royale A portion of all proceeds will also go towards Cancer Support Community at Gilda's Club Rochester! Since 2014, RCR raised more than $260,000. To buy tickets and view a full schedule of bar events you can visit this website here. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Yahoo
02-05-2025
- Entertainment
- Yahoo
Former News 8 reporter brings new personal film to ROC film festival
ROCHESTER, N.Y. (WROC) — The Rochester International Film Festival is back at the George Eastman Museum's Dryden Theatre. It's one of the longest-running short film festivals in the world, and all of the screenings are free. One of them comes from a former News 8 reporter returning to ROC as a filmmaker. It's called 'Thirteen' and Allison Norlian stopped in our Sunrise studio to share more about her movie ahead of Saturday's screening. She describes it as a very personal film inspired by real life — her mom and sister. It's told through the eyes of a determined mother fighting tradition to honor her child, who faces a profound disability, with a Bat Mitzvah. Learn more by watching the interview in the player on this page. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Yahoo
08-04-2025
- Entertainment
- Yahoo
Two historic Roc theaters host Lyttle Lynch Series honoring iconic late filmmaker David Lynch
ROCHESTER, N.Y. (WROC) — Movie lovers have a range of options to soak in the silver screen in the Rochester area, after all motion pictures wouldn't be where they are today without the influence and technology of Kodak. But even for non-movie lovers – there are new and exciting experiences to explore film history and impact. When iconic filmmaker David Lynch passed away in January, two historic art houses teamed up to give way to an expansive tribute, ergo, A Lyttle Lynch Series. From 'Eraserhead' to 'Mulholland Drive,' 'Lost Highway,' 'Twin Peaks: Fire Walk with Me,' and 'Blue Velvet,' David Lynch is known for his surrealist and experimental style as an artist who has spanned decades and media. The impact of his film and art is described as 'immeasurable.' Now through the next several months, the Dryden Theater at the George Eastman Museum on Park Ave. and The Little Theatre around the corner on East Ave. will take turns showcasing films from this resounding and legendary artist. 'We've gotten a lot of feedback from Lynch fans who are excited for this series but it's also a great opportunity for anyone who has not seen any David Lynch movies but is curious to come out and check them out for the first time,' says Scott Pukos, Director of Communications at The Little Theatre. Where possible, the films are show in their true intended format: 35 mm print. Part of the work done at the George Eastman Museum not only covers conservation of these prints, but also preservation and restoration, as explained by Anthony L'Abbate, Preservation Manager of the Moving Image Department at the George Eastman Museum. 'If the film was originally on nitrate or acetate films which both decompose, then we're putting it on a more stable film stock, which now is polyester; and then we could also, from these new film elements make scans to have a digital version of the film that could be shown in theaters that can no longer show and exhibit films,' L'Abbate says. The prints are stored in what's called 'The Vault' which has specific conditions set to ensure longevity. '40 degrees Fahrenheit and 30% relative humidity — cool and dry which will slow down any of the aging process and any of the decomposition,' L'Abbate specifies. In a world where digital is often king, the effort of preservation and restoration are essential to documenting history so it can be shared with future generations. 'You can't have a streaming if you don't preserve or restore the film – you still need to go back to a source that gets transferred somehow. To make digital files you have to have an original and you want to keep those around as long as possible, even for like a 100 year old film that's on nitrate stock that has the potential of burning or exploding – we don't throw it away, because if its still in good shape, even if we preserved it 15 years, 25 years down the road, there might come along something that is a better way of preserving it then, then we have now,' adds L'Abbate. The delicate nature of working with film requires meticulous attention to detail, especially when it comes to the final stop before the print is showcased. Enter Sheryl Smith: the Chief Projectionist at the Dryden Theater. She outlines the lengthy procedures required before any type of screening can be accomplished. 'That inspection is to make sure that the print is going to make it through the projector safely and also we're gathering information and filling out a report: what will the projectionist need to know in order to project the film and have a great show — which is identifying sound tracks, identifying aspect ratios and cue-marks have to be at a certain place so we have to make sure those measurements are correct. And also there's a countdown at the beginning of each film and that needs to be measured into a certain way so that when we do the changeovers the countdown timing and the changeover cues are matching up with the film,' Smith says. 'Being a projectionist is great because you're at the final finale of everything that went in to make that film and you're able to share it with an audience and communal experience and that part of film preservation is really exciting for me – that's what I enjoy – sharing what we do with the community on the big screen,' she adds. The first showing in the series already happened featuring 'Eraserhead' (an original print the George Eastman Museum acquired in the 80's from a collector) and had a turnout of more than 250 audience members. Next up, it's The Little's turn – with e a presentation of 'Mulholland Drive' on Saturday, April 12th at 7:30 p.m. 'There are reasons that people still go to the Louvre to see the paintings, there are reasons that people still go to Statue of Liberty to touch it. There's something about being in the same space as that iconic object, that piece of art that still makes the cinematic experience special,' says Jared Case, Curator of Film Exhibitions. The remainder of the film series presentations (with 35 mm specifics) listed below: The Short Films of David Lynch (Various, 55 min, DCP)Saturday, April 19 at 7:30 p.m. at The Little Theatre Wild at Heart (David Lynch, US 1990, 125 min, 35mm)Wednesday, April 30 at 7:30 p.m. at the Dryden Theatre Lost Highway (David Lynch, US 1997, 134 min, 35mm)Friday, June 13 at 7:30 p.m. at the Dryden Theatre The Straight Story (David Lynch, US 1999, 112 min, 35mm)Wednesday, July 16 at 7:30 p.m. at The Little Theatre Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Chicago Tribune
15-02-2025
- Entertainment
- Chicago Tribune
Review: An exceptionally freaky Lon Chaney movie, restored, comes to Chicago this Sunday only
'Gruesome and at times shocking' as well as 'anything but a pleasant story,' according to the 1927 New York Times critic Mordaunt Hall, 'The Unknown' stars Lon Chaney as Alonzo the Armless, a knife-throwing, sharpshooting featured traveling circus performer with a shady past. He's in love with the owner's daughter, Nanon (Joan Crawford), the apple of another's eye: that of the resident strongman. 'All my life, men have tried to put their beastly hands on me,' she confesses to Alonzo backstage, amid the sawdust and manufactured ground fog director Tod Browning and his collaborators plainly adore. (So do I.) Where 'The Unknown' goes from there in its beautifully restored 66 minutes turns a triangular romantic melodrama into its own sinister geometric configuration. Alonzo's faking his armlessness (only confidant Cojo knows the truth) because he has a rap sheet and a highly incriminating second thumb on one hand. This fugitive from Spanish justice – 'The Unknown' takes place in MGM-Hollywood-soundstage-Madrid — apparently has killed before. And in silent superstar Chaney's sixth of 10 assignments with director Browning, a key figure in cinema horror and nightmarish carnival imagery, Alonzo surely will kill, and maim (himself?) and suffer again. Happy V-Day weekend! This Sunday only, the nonprofit Chicago Film Society screens a 35mm print of this recent George Eastman Museum restoration. Shortly after its 1927 run until the discovery of a print at the Cinematheque Française in 1968, 'The Unknown' was considered all but lost, like the majority of all silent films. But here it is, and the Eastman restoration will be preceded by a newly preserved experimental short film, courtesy of the Chicago Film Society: 'Comes to a Point Like an Ice Cream Cone' by Heather McAdams and Chicago musician/songwriter Chris Ligon. An amalgam of carnival, freak-show, and Baraboo, Wisconsin, Circus World archival footage from several different decades, the short is a frenetic whirligig — and the rhythmic opposite of 'The Unknown.' It has been shown in different versions in Chicago dating back to the 1980s, though officially completed in 1997. Hollywood often turned to the rich, colorful, often seedy visual possibilities of circus yarns in the second half of the 1920s, though seldom if ever with the outlandishness and psychosexual tension of 'The Unknown.' Manon cannot bear the touch of any man's hands, and it's implied that she may be a victim of incest. (Things improve for her once her father has left the scenario, shall we say.) Crawford works some startling wonders in this role, and later credited her career fortunes in part to working with Chaney. His fervent dedication to mastering the physical demands of Alonzo, with some help from a stand-in without arms, Paul Desmuke, left an impression on colleagues as well as audiences. All the same, 'The Unknown' was too much to be a real hit. Today, it's remarkable for many reasons, chiefly the opportunity to see Chaney's brilliantly expressive face without terrifying distortions in the name of terror. Is the film's narrative absurd? Extreme? Feverish? Guilty, guilty, guilty. But this is exceptional pulp, and Chaney and Crawford are startlingly effective. This Sunday's screening will be accompanied by a live musical score performed by Whine Cave, aka Kent Lambert and Sam Wagster.
