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			Billy Liar John Schlesinger, UK, 1963; 98m Billy Liar is one of the most delightful of Britain’s 1960s new wave films, due largely to Tom Courtney’s brilliant performance as an undertaker’s clerk whose dull job hurls him into a hyperactive fantasy life. Based on the novel by Keith Waterhouse and on his and Willis Hall’s subsequent play (directed by Lindsay Anderson), Billy’s outrageous fabrications in the land of Ambrosia are brilliantly contrasted with the grittier reality of his day-to-day life. Several potential girlfriends encourage Billy to come down to earth. The handbag-swinging Liz (the stunning Julie Christie) is among them, offering Billy the possibility of a livelier future. With a brilliant supporting cast including Mona Washbourne, Finlay Currie, Wilfred Pickles, Leonard Rossiter and a host of British pros.		Buy Tickets Fri May 25: 1:30 & 6:30
			Day of the Locust John Schlesinger, US, 1975; 143m As Alice remarked in Wonderland, “Curiouser and curiouser”––a good way to describe this ambitious take on Nathanael West’s virulent portrait of Hollywood in the ‘30s and the fringe denizens caught in its glamour factory. Waldo Salt wrote the screenplay, the extraordinary Conrad Hall photographed it, and Richard MacDonald constructed the mind-boggling sets. Rarely shown, both reviled and appreciated for its vision and epic scale, Locust has an extraordinary cast led by the undervalued William Atherton as a set designer above his head in affairs of the heart. Karen Black is the starlet who drives him crazy. Burgess Meredith is her alcoholic father, with whom she has an anxious relationship, and Donald Sutherland is ideal as the wealthy but peculiar suitor who offers Black the security she desperately needs. Unfortunately, due to unforseen circumstances, William Atheron will not be making a personal appearance on Sat May 26 after the 6pm screening.		Buy Tickets Fri May 25: 3:30 Sat May 26: 6* *Unfortuantely, the Q&A with William Atherton has had to be cancelled.
			Midnight Cowboy John Schlesinger, US, 1969; 113m The film that ushered in––with Easy Rider and Five Easy Pieces––the second Golden Age of Hollywood, when rebellious, independent American films ruled. Midnight Cowboy, written by Waldo Salt, based on the novel by James Leo Herlihy and beautifully photographed by New York veteran Adam Holender on the city’s seedier side, is an Academy Award®-winning drama that packs an emotional wallop. A Texan hayseed hustler (the incomparable John Voight) and the seedy Ratso Rizzo (played with terrific verve by the great Dustin Hoffman) strike a surprising friendship as business partners in a scheme to sexually ensnare rich women for top dollar. Cowboy was one of the hugely popular hits of its day, and it’s definitely worth a look on the big screen, anytime.		Buy Tickets Fri May 25: 8:30 Introduced by Academy Award®-nominated actress Sylvia Miles Sat May 26: 3:45 Introduced by Adam Holender
			Sunday Bloody Sunday John Schlesinger, UK, 1971; 110m Aided by an extremely intelligent and stylish script by novelist/film critic Penelope Gilliatt, to whom this screening is dedicated, Schlesinger took on a risky subject for his time. A dispassionate young artist (Murray Head) shares sexual favors with two lovers, an executive played by the coolly chic Glenda Jackson and a Jewish doctor portrayed by that master of ambiguity and hidden torment, Peter Finch. In the words of Roger Ebert, “This is not a story about the loss of love, but about its absence.” Jackson and Finch are superb in the cat-and-mouse game they play with each other and the lover they share. The film is a rich, compassionate and visually striking exploration of a love triangle and one of the landmarks of gay cinema.		Buy Tickets Sat May 26: 1:30 & 9