Founded in 1982, the Yale Film Archive, part of Yale University Library, fosters a robust film culture and s teaching, learning, and research at Yale University through collection,…

This fall, the Yale Film Archive brings you four unique film series:
Treasures from the Yale Film Archive, an ongoing…
This summer, we're bringing you a cross-country crime caper, a swoon-worthy retelling of a classic romance, a sci-fi thriller that…
This fall, the Yale Film Archive brings you four unique film series:
The Nixon Years: American Politics in the Early…
This spring, the Yale Film Archive presents three series of films:
Treasures from the Yale Film Archive, an ongoing series…
Films preserved by the Yale Film Archive from unique original film elements in the archive's collection. All films preserved on…
We celebrate the centenary of an unparalleled Senegalese filmmaker in Early Ousmane Sembène: The First Films from the Father of…
Ang Lee: “My dream since childhood was to make a spectacular action film in the Wuxia [martial arts superhero] genre.” Born in 1954 in Taiwan, where he lived until 1979, Lee grew up influenced by the Shaw Brothers’ Hong Kong epics, such as COME DRINK WITH ME (King Hu, 1966) and ONE-ARMED SWORDSMAN (Chang Cheh, 1967); and by Hu’s Taiwanese films DRAGON INN (1967) and A TOUCH OF ZEN (1971). After receiving his MFA in filmmaking from NYU, Ang became…
John Sayles: “I had heard of the Black Sox scandal when I was a kid, wondering how could anybody be so low as to throw the World Series?” In his twenties, after reading Eliot Asinof’s detailed non-fiction book Eight Men Out (1963), Sayles was convinced that the White Sox players got involved in fixing the 1919 Series less from greed than from their exploitation by greedy ownership: that this was a larger story of labor vs. capital. Inspired by ALL…
These notes were created by ChatGPT after it was provided with the following prompt: “Write a 600-word humorous essay on the Steven Spielberg film A.I.: ARTIFICIAL INTELLIGENCE.”
When Steven Spielberg’s film A.I.: ARTIFICIAL INTELLIGENCE hit theaters in 2001, audiences were blown away by the stunning visuals, the heart-wrenching story, and the impressive performances. But what most people don’t realize is that beneath all that emotion and drama, there’s a lot of comedy to be found.
First off, let’s talk about…
“I wanted to make a love story between two women that was authentic. The inauthentic ones ended in a bisexual triangle or a suicide. It was foremost for me that this be authentic, and authenticity in this case means love.” —Donna Deitch
Set in Reno in the ‘50s, director Donna Deitch’s “astonishingly polished and nuanced first film” (Paul Attanasio) portrays the romance between a Columbia professor awaiting her divorce and the free-spirited younger woman she first encounters in what B.…
*35mm screening at Yale*
PACKED screening courtesy of the Yale Film Society. Second go around confirms this as Park Chan-Wook’s masterpiece. The print was exquisite as well.
This is truly phenomenal. But the seams between Kubrick’s script and Spielberg’s treatment are too visible, I’m afraid. Spielberg said in an interview that the last 20 minutes, the scene which made us all cry, is pure Kubrick, and the sexually-charged middle act was Spielberg. Kubrick’s gushy ending is essential to this film. But Spielberg’s treatment leaves us quite far from that ending, and so a series of logical leaps and timeskips really spur the ending for me. It is…
Films preserved by the Yale Film Archive from unique original film elements in the archive's collection. All films preserved on film, resulting in new 16mm and 35mm prints as well as digital masters. See the list notes to learn more.