By MCN Editor editor@moviecitynews.com

BLACK PANTHER COMES TO ART HOUSE THEATERS NATIONWIDE WITH FREE SCREENINGS AND A LIVE Q&A WITH DIRECTOR RYAN COOGLER,  NOVEMBER 27

 
PRESENTED BY FILM COMMENT MAGAZINE WITH SUPPORT FROM THE ART HOUSE CONVERGENCE
NEW YORK, NY (November 16, 2018) – Black Panther returns to the big screen with free screenings at nonprofit art house theaters nationwide on Tuesday, November 27 at 4:00pm PT/7:00pm ET. Presented by Film Comment, a publication of the Film Society of Lincoln Center, and supported by the Art House Convergence, the event will feature a post-screening Q&A with director Ryan Coogler, taking place at the Christopher B. Smith Rafael Film Center in San Rafael, CA, streamed live to participating theaters. A full list of theaters can be found below. Check local theater listings for more details.
 
The one-night-only event offers audiences an opportunity to experience the acclaimed film on the big screen once again with their local communities. Leading up to and during the Q&A, attendees are invited to submit their questions to Ryan Coogler on Twitter with the hashtag #AskBlackPanther. All attendees will receive a free one-year digital subscription to Film Comment magazine. Coogler, director and co-writer of Black Panther, was featured on the cover of Film Comment‘s March-April 2018 issue with a story by Devika Girish. Nicolas Rapold, the magazine’s editor-in-chief, will moderate the discussion.
 
Black Panther is director Ryan Coogler’s take on a modern African hero and a utopian vision of what an uncolonized Africa might look like. The film explores the conflict between two powerful men, one African and one African-American, who are mirror images of each other, each grappling with his own history, home, and very identity.  When Prince T’Challa (Chadwick Boseman) becomes king of the hidden, technologically advanced kingdom Wakanda, he is forced to defend his throne against rogue mercenary Erik Killmonger (Michael B. Jordan). Wakanda is also alive with strong, intelligent women-from Wakanda’s elite all-female security force, led by Okoye (Danai Gurira), to the international spy Nakia (Lupita Nyong’o), to T’Challa’s tech-savvy sister (Letitia Wright) and mother (Angela Bassett)-who are portrayed as equals to the men they protect and advise. 
 
Film Comment is for everyone, art houses are for everyone, and Black Panther is for everyone.
 
Film Comment presents Black Panther 
with support from the Art House Convergence
Tuesday, November 27
4:00pm PST/7:00pm EST
 
PARTICIPATING THEATERS
 
Austin, TX – AFS Cinema (Austin Film Society)
6259 Middle Fiskville Rd, Austin, TX 78752
 
Boston, MA – Brattle Theatre
40 Brattle St, Cambridge, MA 02138
 
Denver, CO – Sie FilmCenter (Denver Film Society)
2510 East Colfax Ave., Denver, CO 80206
 
Detroit, MI – Michigan Theater
603 E Liberty St. Ann Arbor, MI 48104
 
Los Angeles, CA – DGA Theater
7920 Sunset Boulevard, Los Angeles, CA 90046
 
Miami, FL – O Cinema Wynwood
90 NW 29th St, Miami, FL 33127
 
New York, NY – Film Society of Lincoln Center
144 W. 65th Street, New York, NY 10023
 
Princeton, NJ – Garden Theater in Princeton
7006, 160 Nassau St, Princeton, NJ 08542
 
Philadelphia, PA – Ambler Theater
108 E Butler Ave, Ambler, PA 19002
 
San Diego, CA – Digital Gym Cinema
2921 El Cajon Blvd, San Diego, CA 92104
 
San Francisco, CA – Roxie Theater
3117 16th St, San Francisco, CA 94103
 
San Rafael, CA – Christopher B. Smith Rafael Film Center
1118 4th St, San Rafael, CA 94901
 
Seattle, WA – NorthWest Film Forum
1515 12th Ave, Seattle, WA 98122
 
FILM COMMENT
Published since 1962, Film Comment magazine features in-depth reviews, critical analysis, and feature coverage of mainstream, art-house, and avant-garde filmmaking from around the world. Today a bimonthly print magazine and a website, the magazine was founded under the editorship of Gordon Hitchens, who was followed by Richard Corliss, Harlan Jacobson, Richard Jameson, Gavin Smith, and Nicolas Rapold. Past and present contributing critics include Paul Arthur, David Bordwell, Richard Combs, Manohla Dargis, Raymond Durgnat, Roger Ebert, Manny Farber, Howard Hampton, Molly Haskell, J. Hoberman, Richard Jameson, Kent Jones, Dave Kehr, Nathan Lee, Todd McCarthy, Jonathan Rosenbaum, Tony Rayns, Frank Rich, Andrew Sarris, Richard Schickel, Elliott Stein, Amy Taubin, David Thomson, Richard Thompson, Amos Vogel, Robin Wood, and many more.
 
ART HOUSE CONVERGENCE
The idea of the Art House Convergence was born when a group of exhibitors were brought together at the Sundance Film Festival as part of the Sundance Institute’s Art House Project. For two years, this small group of exhibitors met at the Sundance Film Festival to discuss independent film and independent film exhibition. In 2008, the group expanded and hosted the first Art House Convergence conference with 25 attendees. In 2018, over 640 exhibitors, film festivals, and allied organizations joined for a sold-out Annual Conference in Midway, UT.
 
The Art House Convergence, having grown into a year-round organization, relies on several staff members and a passionate group of volunteers to help coordinate all of its events and programs, always striving to reflect its core intention, community-based, mission-driven. The upcoming 2019 Annual Conference will be held January 21-24 in Midway, UT before the start of the Sundance Film Festival.

Comments are closed.

Quote Unquotesee all »

“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott