The Bill Cosford Cinema

26TH ANNUAL CANES FILM FESTIVAL
2024-05-04 15:00 - 21:00, 2024-05-05 16:00 - 21:00 UTC | Cosford Cinema, 5030 Brunson Drive, Coral Gables, FL, 33146, United States
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100 FILMS – 3 NIGHTS – 1 AMAZING FESTIVAL

The BEST student film screening in the world! The 26th annual UM Canes Film Festival premieres the work produced by UM students in the Department of Cinematic Arts at the state-of-the-art Cosford Cinema. The festival dates/times are 4:00 P.M. Friday May 3, 3 p.m. Saturday May 4 and 4 p.m. Sunday May 5.
Admission is free and open to the public! Click on the link above to register for tickets.
Visit www.canesfilmfestival.com for more information.

SUNDAYS AT THE U WITH MOVIES: "GIRLHOOD" (2014)
2024-05-12 13:00 - 15:00 UTC
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Join us on May 12 at 1 p.m. for our weekly Sunday screening series, featuring the 2014 award-winning drama “Girlhood” in 2K digital projection.
GIRLHOOD | 2014 | DIRECTOR: Céline Sciamma | WITH: Karidja Toure, Assa Sylla, Lindsay Karamoh | RUNNING TIME: 1H 53M | UNRATED contains violent content, sexual situations, brief nudity and alcohol/smoking | 2K DIGITAL PROJECTION
Oppressed by her family setting, dead-end school prospects and the boys law in the neighborhood, Marieme starts a new life after meeting a group of 3 free-spirited girls. She changes her name, her dress code, and quits school to be accepted in the gang, hoping that this will be a way to freedom.

“Céline Sciamma’s “Girlhood” can be described (like so many movies these days) as a coming-of-age story, and it honors the genre, and its main character, with exemplary sensitivity and sympathy. But even as she stops at familiar stations on the road to maturity — problems at home and school, new friendships and first love — Ms. Sciamma revels in the risky, reckless exuberance of adolescence and in the sheer joy of filming it.
“While “Girlhood” is sad and wrenching, it doesn’t feel like a misery-mongering expression of high-minded (and therefore condescending) concern. This is because Karidja Touré, evolving from the shy Marieme into the assertive Vic, carries herself with the kind of dignity that disarms all pity, and also because Ms. Sciamma is less interested in what Marieme might represent than in what she experiences.
“While the movie has a lot to say about the general condition of being a girl, in the Paris banlieues and elsewhere, it never loses sight of the specific girl at its heart.” — A.O. Scott, The New York Times
The screening will be introduced by Bill Cosford Cinema manager Rene Rodriguez. Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission. Cane card must be shown at the door.

GLOBAL FRONTIERS: "DOCTORS, APPS AND ARTIFICIAL INTELLIGENCE: THE FUTURE OF MEDICINE"
2024-06-01 17:00 - 19:00 UTC
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Please join us at 5 p.m. Saturday, June 1, for the next installment in our groundbreaking film series, Global Frontiers.
The Global Frontiers series is designed to bring two kinds of audiences together: Those who love films and those who care about contemporary issues.
This month’s selection is the 2022 documentary “Doctors, Apps, and Artificial Intelligence – The Future of Medicine.” The film explores the impact of AI on the future of medicine, healthcare and medical education. It argues how AI promises improved diagnoses, fewer errors, and how we may need to think differently when it comes to the training of the next generation of physicians.

For this event, we are delighted to have Professor Lina Shehadeh from the University of Miami Miller School of Medicine, Division of Cardiology and Interdisciplinary Stem Cell Institute, as our distinguished guest speaker.
Professor Shehadeh runs a basic science and translational cardiovascular research laboratory that has been continuously funded for over a decade by the NIH, American Heart Association, and the Miami Heart Research Institute.
For the past six years, she has also been the Director of the Cardiovascular Systems educational module for first-year MD and MD/MPH students at the University of Miami Miller School of Medicine, where she has introduced unique organization and innovation in blended learning techniques.
As usual, admission is FREE but registration required at link above. Hope to see you there!

SUNDAYS AT THE U WITH MOVIES: "TRUE LOVE" (1989)
2024-06-02 13:00 - 15:00 UTC
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Join us on June 2 at 1 p.m. for our weekly Sunday screening series, featuring the 1989 Sundance Film Festival Grand Jury Prize winner “True Love” in digital projection.
TRUE LOVE | 1989 | DIRECTOR: Nancy Savoca | WITH: Annabella Sciorra, Ron Eldard, Aida Turturro, Roger Rignack | RUNNING TIME: 1H 44M | RATED R for language | DIGITAL PROJECTION
Donna and Michael are getting married. But first, they have to plan the reception, get the tux, buy the rings, and cope with their own uncertainty about the decision. Michael fears commitment. Donna has her doubts about Michael’s immaturity. Both are getting cold feet.

“There is a sense in “True Love” that the marriage preparations lead to marriage almost through the sheer force of momentum. A hall has to be hired. A menu has to be selected (with mashed potatoes dyed to match the color of the bridesmaids’ dresses). Families and friends swarm about the two stars of the event, until they hardly have time to communicate with each other.
“But they do talk. And gradually, as we listen, we begin to realize that “True Love” is deeper than it first seems. The movie begins as a comedy of wedding preparations and lifestyles, but as it goes along and we get to know Donna and Michael better, we begin to suspect that these people should never get married, that Michael is an immature alcoholic and that in some ways Donna knows it but lacks the determination to call off the ceremony.” — Roger Ebert
The screening will be introduced by Bill Cosford Cinema manager Rene Rodriguez. Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission. Cane card must be shown at the door.

SUNDAYS AT THE U WITH MOVIES: "UMBERTO D." (1952)
2024-06-09 13:00 - 15:00 UTC
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Join us on June 9 at 1 p.m. for our weekly Sunday screening series, featuring director Vittoria De Sica’s unforgettable “Umberto D.” (1952) in 2K DCP projection.
UMBERTO D. | 1952 | DIRECTOR: Vittorio De Sica | WITH: Carlo Battisti, Maria Pia Casilio, Lina Gennari | RUNNING TIME: 1H 29M | UNRATED no offensive material | 2K DIGITAL PROJECTION
This neorealist masterpiece by Vittorio De Sica follows an elderly pensioner as he strives to make ends meet during Italy’s postwar economic recovery. Alone except for his dog, Flike, Umberto struggles to maintain his dignity in a city where human kindness seems to have been swallowed up by the forces of modernization.
His simple quest to satisfy his basic needs—food, shelter, companionship—makes for one of the most heartbreaking stories ever filmed, and an essential classic of world cinema.

“Umberto D. is perhaps the most astringent film ever made about a poor old man and his dog. Critics today tend to like the astringent parts: the long, deliberately undramatic sequences full of mundane activity (such as a housemaid’s morning routine), performed with little or no dialogue and shot as if in real time. People who admire the work of such contemporary filmmakers as Hou Hsiao-hsien, Chantal Akerman, and Abbas Kiarostami can see something up-to-date in this aspect of Umberto D., and even recognize in it a principal source of today’s cinema of the steady gaze.
These same critics generally dislike the pooch. They feel that screenwriter Cesare Zavattini and director Vittorio De Sica did enough to immiserate their title character by depriving him of youth, family, friends, health, money, and home. Surely an audience needs no further prompting to feel the isolation of Umberto Domenico Ferrari.
“That the filmmakers also make him go everywhere with little Flike—clutching him to his breast, fretting over his well-being, ultimately begging the dog to come play with him—seems to these viewers an almost invasive ploy, as if Zavattini and De Sica were trying to force into their hands an already soggy handkerchief.
“But as someone who begins weeping at the first notes of the title music—someone who thinks this film’s long, undramatic sequences can be seen best when watched through tears—I wouldn’t want Zavattini and De Sica to have backed off. I believe their greatest work, which surely includes Umberto D., kept touch faithfully with popular sentiment, even while helping to create the decidedly unpopular tradition of the art-house film.
“Perhaps today’s division between auteurist productions and mass-market movies might be eased, and contemporary cinema enlivened, if our filmmakers would more often put themselves at risk as Zavattini and De Sica did with Umberto D.” — Stuart Klawans
The screening will be introduced by Bill Cosford Cinema manager Rene Rodriguez. Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission. Cane card must be shown at the door.

SUNDAYS AT THE U WITH MOVIES: "RUMBLE FISH" (1983)
2024-06-16 13:00 - 15:00 UTC
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Join us on June 16 at 1 p.m. for our weekly Sunday screening series, featuring director Francis Ford Coppola’s startling adaptation of the S.E. Hinto young adult novel “Rumble Fish” (1983) in digital projection.
RUMBLE FISH | 1983 | DIRECTOR: Francis Ford Coppola | WITH: Matt Dillon, Mickey Rourke, Diane Lane, Nicolas Cage, Dennis Hopper, Vincent Spano, Laurence Fishburne | RUNNING TIME: 1H 34M | RATED R for language, gang violence, sexual situations, nudity, adult themes. | DIGITAL PROJECTION
In this deeply personal tale of estrangement and reconciliation between two rebellious brothers, set in a dreamlike and timeless Tulsa, Francis Ford Coppola gives mythic dimensions to intimate, painful emotions.
The director’s “art film for teenagers” was his second adaptation of young-adult novelist S. E. Hinton’s work in a single year, after the more classically styled The Outsiders. Graced with a remarkable cast headed by Matt Dillon, Mickey Rourke, and Diane Lane; haunting black-and-white visuals that hark back to German expressionism; and a powerful percussive score by Stewart Copeland that underlines the movie’s romantic fatalism, Rumble Fish pulsates throughout with genuine love and dread.

“On Sundays during the Outsiders shoot, Coppola and Hinton worked on the script for Rumble Fish, a more intimate but also more strangely mythic narrative than that of The Outsiders. He then enlisted a couple of actors from the other film, Matt Dillon, then eighteen, and Diane Lane, then seventeen, to play its leads.
“Where for The Outsiders Coppola took a lush, emotive, romantic approach replete with allusions to Gone with the Wind (a favorite movie of one of its characters), with Rumble Fish he went about finding himself in a different way. The story here is very simple: Rusty-James (Dillon), a charming, aimless gang leader, searches for meaning in the absence of his legendary older brother, the Motorcycle Boy.
“The Motorcycle Boy cruises back into town at a crucial juncture for Rusty-James, and the older brother has a message for the younger: he’s not going to find what he’s looking for. The brothers wrestle with their drunkard father, Rusty-James wrestles with his feelings for his sometimes girlfriend, Patty (Lane), a local cop sets his gun sight on the Motorcycle Boy, and all the characters enact gestures and provocations both intimate and archetypal.
“The future in which Rumble Fish is set resides at least in part in its vision of tormented but fluid masculinity. For a couple of supposed tough guys, Rusty-James and the Motorcycle Boy are almost perversely lacking in machismo. They’re ideals of a sort; doomed as they may be, they represent potential alternatives to the toxic masculinity of a Sonny Corleone.
“Rumble Fish as a whole is suffused with that longing, and it goes in many directions. Rusty-James may not be the brightest fellow, but he has a desire that is very direct and possibly universal: “I just want you to see me, man,” he says through his pain.” — Glenn Kenny
The screening will be introduced by Bill Cosford Cinema manager Rene Rodriguez. Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission. Cane card must be shown at the door.

GLOBAL FRONTIERS: "ONE LIFE" (2024)
2024-06-22 17:00 - 19:00 (America/New_York)
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Please join us at 5 p.m. Saturday, June 22, for the final installment in our groundbreaking film series, Global Frontiers.
The Global Frontiers series is designed to bring two kinds of audiences together: Those who love films and those who care about contemporary issues.
This month’s selection is “One Life” (2024), which stars Anthony Hopkins, Lena Olin and Helena Bonham Carter, and tells the true story of Sir Nicholas Winton, a British humanitarian who, in 1939, helped to arrange the escape of 669 predominantly Jewish children from Czechoslovakia.
For this event, we are delighted to welcome back Professor Dina Moulioukova, as our distinguished guest speaker. Prof. Moulioukova is a Senior Lecturer of International Studies at the University of Miami, and Assistant Director and co-founder of the Global Security Initiative.

As always, admission is FREE but registration is required at link above. Hope to see you there!

SUNDAYS AT THE U WITH MOVIES: "THE HANDMAIDEN" (2016)
2024-06-23 13:00 - 15:30 UTC
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Join us on June 23 at 1 p.m. for our weekly Sunday screening series, featuring director Park Chan-Wook’s sublime erotic thriller “The Handmaiden” (2016) in digital projection.
THE HANDMAIDEN| 2016 | DIRECTOR: Park Chan-Wook | WITH: Kim Min-hee, Ha Jung-woo, Cho Jin-woong | RUNNING TIME: 2H 25M | UNRATED contains sexual situations, nudity, brief violence, strong adult themes | DIGITAL PROJECTION
In 1930s Korea, during the Japanese occupation, a young woman is hired as a handmaiden to a Japanese heiress who lives a secluded life on a large countryside estate with her domineering uncle. But the maid has a secret. She is a pickpocket recruited by a swindler posing as a Japanese Count to help him seduce the Lady to elope with him, rob her of her fortune, and lock her up in a madhouse. The plan seems to proceed according to plan until the two women discover some unexpected emotions.

“Sookee, a former pickpocket, is secretly working for a scam artist who passes himself off as a rich Japanese count. Their plan is to make a young heiress fall in love with him so he can marry her, lock her away in an asylum and run off with her vast fortune. The heiress has thieves to the left of her, creepers to the right, and for the first 30 minutes of “The Handmaiden,” you fear nothing but calamity is heading her way.
“Then director Park Chan-wook pulls off his first reveal — one of the countless twists this sensual, gorgeously depraved movie springs on you. Almost all of Park’s previous pictures (“Old Boy,” “Stoker,” “Lady Vengeance”) relied on the element of surprise to weave their corrosive magic. But “The Handmaiden” throws so many narrative curves at you that the film becomes a cinematic puzzle-box, with secrets nestled within secrets within secrets.
“Discovering them is huge fun. So is watching this grand, elegant movie, which finds Park in an unusually sunny mood. The story’s themes — the victims of colonialism, the oppression between classes, the damage wrought by cultural sexism — are serious. But they’re served up in a movie that makes its playful intentions obvious early on, then starts batting the audience around in unexpected directions.
“The film is best approached cold, its turns of plot unspoiled. But more timid viewers should know Park has never been shy about depicting graphic sexuality in his work, and he outdoes himself with “The Handmaiden,” in which carnality plays such an important role it deserves its own screen credit.
‘“The Handmaiden” hails from South Korea, but compared to most American movies of its scale and budget, it might as well have been made on another planet. This may not be Park’s best or gravest picture. But it might be his most entertaining.’ — Rene Rodriguez, The Miami Herald
The screening will be introduced by Bill Cosford Cinema manager Rene Rodriguez. Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission. Cane card must be shown at the door.

CELEBRATING DONALD SUTHERLAND: "DON'T LOOK NOW" (1973)
2024-06-27 19:30 - 21:30 UTC
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In celebration of the late Donald Sutherland, you are invited to attend a free screening of one of his best films.
DON’T LOOK NOW | 1973 | DIRECTOR: Nicolas Roeg | WITH: Donald Sutherland, Julie Christie, Hilary Mason | RATED R for sexual content, nudity, brief violence, gore, adult themes | RUNNING TIME: 1H 50M
A married couple grieving the recent death of their young daughter are in Venice when they encounter two elderly sisters, one of whom is psychic and brings a warning from beyond.
Screens at 7:30 p.m. Thursday June 27. Admission is FREE but registration is required at link above.
https://youtu.be/fxUveU9aHsk?si=W0bzZrWrMDlfHNuk
““Don’t Look Now,” based on a Daphne du Maurier short story, iss full of disturbing cuts and sinister portents, all driven by Roeg’s visionary skill as a cinematic manipulator of time and memory. No film has ever let you taste the grandeur and rot, or the vertiginous anxiety, that arises out of the ancient maze of Venice the way “Don’t Look Now” does.
“In 1973, the movie had the shock of the new, and in a way it’s never lost that. It was the cinema’s first modern gothic, the first tale of a ghost world that seemed to be unfolding in a place where such things were too corny to exist.
“Don’t Look Now” is about something more than scaring you (though it did that just fine, especially when a mysterious small figure in a red hood showed up); it is about a tear in the cosmic fabric. It is a prismatic poem of fear that makes it seem as if the nightmare is cracking open inside your head.” — Owen Gleiberman, Variety

CELEBRATING DONALD SUTHERLAND: "KLUTE" (1971)
2024-06-28 19:30 - 21:30 UTC
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In celebration of the late Donald Sutherland, you are invited to attend a free screening of one of his best films.
KLUTE | 1971 | DIRECTOR: Alan J. Pakula | WITH: Jane Fonda, Donald Sutherland, Roy Scheider | RATED R for sexual content, nudity, brief violence, adult themes | RUNNING TIME: 1H 54M
A small-town detective searching for a missing man has only one lead: a connection with a New York prostitute.
Screens at 7:30 p.m. Friday June 28. Admission is FREE but registration is required at link above.

“The movie embodies, in the most rewarding way, the transformations and contradictions that defined American cinema at the dawn of one of its most creatively fertile eras. Klute is not, as Pakula feared it would be, “a character study in a melodrama” but rather a character study that uses the trappings of melodrama to deepen its portrait of the character it’s studying.
“The film undercuts every expectation it sets up: it’s a cop movie that isn’t about the cop; a modern western that almost never leaves the canyons, hideaways, and saloons of Manhattan; a whodunit that, with defiant indifference, gives away the “who” after forty minutes; and a thriller that, although menace seems to choke every frame, contains almost no violence at all. No wonder some critics were baffled.” — Mark Harris

CELEBRATING DONALD SUTHERLAND: "M*A*S*H" (1970)
2024-06-29 19:30 - 21:30 UTC
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In celebration of the late Donald Sutherland, you are invited to attend a free screening of one of his best films.
M*A*S*H | 1970 | DIRECTOR: Robert Altman | WITH: Donald Sutherland, Elliot Gould, Tom Skerritt, Sally Kellerman, Robert Duvall | RATED R for sexual content, nudity | RUNNING TIME: 1H 56M
The staff of a Korean War field hospital uses humor and hijinks to keep their sanity in the face of the horror of war.
Screens at 7:30 p.m. Saturday June 29. Admission is FREE but registration is required at link above.

“The performances have a lot to do with the movie’s success. Elliott Gould and Donald Sutherland are two genuinely funny actors; they don’t have to make themselves ridiculous to get a laugh. They’re funny because their humor comes so directly from their personalities. They underplay everything (and Sutherland and Gould trying to downstage each other could eventually lead to complete paralysis).
“Strangely enough, they’re convincing as surgeons. During operations, covered with blood and gore, they mutter their way through running commentaries that sound totally professional. Sawing and hacking away at a parade of bodies, they should be driving us away, but they don’t. We can take the unusually high gore-level in “MASH” because it is originally part of the movie’s logic. If the surgeons didn’t have to face the daily list of maimed and mutilated bodies, none of the rest of their lives would make any sense.” — Roger Ebert

SUNDAYS AT THE U WITH MOVIES: "NIGHTS OF CABIRIA" (1957)
2024-07-14 13:00 - 15:00 UTC
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Join us on July 14 at 1 p.m. for our weekly Sunday screening series, featuring director Federico Fellini’s Oscar-winning “Nights of Cabiria” (1957) in digital projection.
NIGHTS OF CABIRIA | 1957 | DIRECTOR: Federico Fellini | WITH: Giuletta Masina, Francois Perier, Franca Marzi | RUNNING TIME: 1H 50M | UNRATED adult themes | DIGITAL PROJECTION
In the fifth of their immortal collaborations, Federico Fellini and the exquisitely expressive Giulietta Masina completed the creation of one of the most indelible characters in all of cinema: Cabiria, an irrepressible, fiercely independent sex worker who, as she moves through the sea of Rome’s humanity, through adversity and heartbreak, must rely on herself—and her own indomitable spirit—to stay standing.
Winner of the best actress prize at Cannes for Masina and the Academy Award for best foreign-language film, Nights of Cabiria brought the early, neorealist-influenced phase of Fellini’s career to a transcendent close with its sublimely heartbreaking yet hopeful final image, which embodies, perhaps more than any other in the director’s body of work, the blend of the bitter and the sweet that define his vision of the world.

“Nights of Cabiria” plays like a plucky collaboration on an adult theme between Fellini and Chaplin. Masina deliberately based her Cabiria on the Little Tramp, I think–most obviously with some business with an umbrella, and a struggle with the curtains in a nightclub. But while Chaplin’s character inhabited a world of stock villains and happy endings, Cabiria survives at the low end of Rome’s prostitution trade.
“When she’s picked up by a famous actor and he asks her if she works the Via Veneto, the center of Rome’s glitz, she replies matter-of-factly that, no, she prefers the Archeological Passage, because she can commute there on the subway.
“Cabiria is a working girl. Not a sentimentalized one, as in “Sweet Charity,” the Broadway musical and movie based on this story, but a tough cookie who climbs into truck cabs, gets in fights and hides in the bushes during police raids.
“She’s proud to own her own house–a tiny shack in an industrial wasteland–and she dreams of sooner or later finding true romance, but her taste in men is dangerous, it’s so trusting; the movie opens with her current lover and pimp stealing her purse and shoving her into the river to drown.
“Of all his characters, Fellini once said, Cabiria was the only one he was still worried about. In 1992, when Fellini was given an honorary career Oscar, he looked down from the podium to Masina sitting in the front row and told her not to cry. The camera cut to her face, showing her smiling bravely through her tears, and there was Cabiria.” — Roger Ebert
The screening will be introduced by Bill Cosford Cinema manager Rene Rodriguez. Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission. Cane card must be shown at the door.

SUNDAYS AT THE U WITH MOVIES: "PLAYTIME" (1967)
2024-07-21 13:00 - 16:00 UTC
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Join us on July 21 at 1 p.m. for our weekly Sunday screening series, featuring actor-director Jacques Tati’s enchanting “PlayTime” (1967) in digital projection.
PLAYTIME | 1967 | DIRECTOR: Jacques Tati | WITH: Jacques Tati, Barbara Dennek, Rita Maiden | RUNNING TIME: 2H 35M | UNRATED no offensive material | 2K DCP PROJECTION
Jacques Tati’s gloriously choreographed, nearly wordless comedies about confusion in an age of high technology reached their apotheosis with PlayTime. For this monumental achievement, a nearly three-year-long, bank-breaking production, Tati again thrust the lovably old-fashioned Monsieur Hulot, along with a host of other lost souls, into a baffling modern world, this time Paris.
With every inch of its superwide frame crammed with hilarity and inventiveness, PlayTime is a lasting record of a modern era tiptoeing on the edge of oblivion.

“Playtime is a movie that unfolds entirely in a public space. Even the strange sequence showing us adjacent living rooms is shot exclusively from the street; and the only time we see Barbara in her hotel room is when a maid delivers her evening dress. So there’s something inappropriate and contrary to Tati’s design for the film about its being viewed in private spaces, especially on any screen smaller than oneself.
“Playtime assumes a precise contiguity and continuity with the public space of a movie theater, where we share its experience with others—just as the customers and employees of the Royal Garden eventually manage to carve out a common social investment in an establishment that’s gradually disintegrating around them. Even if we sometimes wind up laughing at different gags, we’re all laughing to some degree at ourselves, and the sense of mutual recognition is crucial.
“Mobile phones have sadly made the sense of public urban space as it exists in Playtime almost archaic, a kind of lost paradise. The utopian vision of shared space that informs the latter scenes—beginning in the new Royal Garden restaurant at night and continuing the next morning in a drugstore and on the streets of Paris—is made unthinkable by mobile phones, whose use can be said to constitute both a depletion and a form of denial of public space, especially because the people using them tend to ignore the other people in immediate physical proximity to them.
“Nevertheless, given his capacity to keep abreast of social changes, I have little doubt that Tati, if he were alive today, could and probably would construct wonderful gags involving the use of these phones. And if he were making Playtime now, I suspect he’d most likely be inventing gags for the first part that involved mobile phones, and then would have to find ways of destroying or disempowering them to make way for the second part. (It’s hardly accidental that his most brilliantly and elaborately developed gag involves the shattering of glass, another social barrier.)” — Jonathan Rosenbaum
The screening will be introduced by Bill Cosford Cinema manager Rene Rodriguez. Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission. Cane card must be shown at the door.

"20,000 SPECIES OF BEES" FREE PREVIEW SCREENING
2024-07-23 19:30 - 21:30 UTC
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In conjunction with Miami Dade College and the Miami Film Festival, you are invited to a free advance screening of the Spanish coming-of-age drama “20,000 Species of Bees” at 7:30 p.m. Tuesday, July 23.
20,000 SPECIES OF BEES | 2023| WRITER-DIRECTOR: Estibaliz Urresola Solaguren | WITH: Sofia Otero, Patricia Lopez Arnaiz, Ane Gabarain | RUNNING TIME: 2H 5M | UNRATED Contains sexual content, nudity, adult themes | IN SPANISH WITH ENGLISH SUBTITLES | 2K DCP projection
In her filmmaking debut, writer-director Estibaliz Urresola Solaguren tells the story of an eight year-old girl who, unhappy in her skin and at odds with her family, finally recognizes her gender over the course of one pivotal summer, and persuades others to recognize it too.

Admission is free but registration required at link below. Seating is limited.
“Alternately mischievous and diffident, as her character’s swinging moods and modes dictate, Otero’s performance in the lead is utterly winning; a late scene in which she experiments with wearing a dress in public requires a subtle spectrum of emotions and body language cues from her, and it’s to Solaguren’s credit that these turns never feel forced or affected. Indeed the film’s whole ensemble, even at its most fractiously opposed, is steered toward creased, careworn restraint rather than shouty grandstanding.” — Guy Lodge, Variety

SUNDAYS AT THE U WITH MOVIES: "CITY OF GOD" (2002)
2024-07-28 13:00 - 15:30 UTC
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Join us on July 28 at 1 p.m. for our weekly Sunday screening series, featuring co-director Fernando Meirelles’ Oscar-nominated drama “City of God” (2002) in digital projection.
CITY OF GOD | 2002 | CO-DIRECTORS: Fernando Meirelles, Katia Lund | WITH: Alexandre Rodrigues, Leandro Firmino, Matheus Nachtergaele | RUNNING TIME: 2H 10M | RATED R for strong bloody violence, vulgar language, adult themes | DIGITAL PROJECTION
Nominated for four Oscars, including Best Director, Best Adapted Screenplay, Best Editing and Best Cinematography, this hyper-kinetic, harrowing and exhilarating drama is set in the slums of Rio, Brazil, where two kids’ paths diverge as one struggles to become a photographer and the other a kingpin.

“”City of God” churns with furious energy as it plunges into the story of the slum gangs of Rio de Janeiro. Breathtaking and terrifying, urgently involved with its characters, it announces a new director of great gifts and passions: Fernando Meirelles. The film has been compared with Scorsese’s “GoodFellas,” and it deserves the comparison. Scorsese’s film began with a narrator who said that for as long as he could remember he wanted to be a gangster. The narrator of this film seems to have had no other choice.
“The movie takes place in slums constructed by Rio to isolate the poor people from the city center. They have grown into places teeming with life, color, music and excitement–and also with danger, for the law is absent and violent gangs rule the streets.
“In the virtuoso sequence opening the picture, a gang is holding a picnic for its members when a chicken escapes. Among those chasing it is Rocket, the narrator. He suddenly finds himself between two armed lines: the gang on one side, the cops on the other.
“Working with the cinematographer Cesar Charlone, director Meirelles uses quick-cutting and a mobile, hand-held camera to tell his story with the haste and detail it deserves. Sometimes those devices can create a film that is merely busy, but “City of God” feels like sight itself, as we look here and then there, with danger or opportunity everywhere.” — Roger Ebert
The screening will be introduced by Bill Cosford Cinema manager Rene Rodriguez. Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission. Cane card must be shown at the door.

SUNDAYS AT THE U WITH MOVIES: "WILD AT HEART" (1990)
2024-08-04 13:00 - 15:15 UTC
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Join us on August 4 at 1 p.m. for our weekly Sunday screening series, featuring director David Lynch’s Palme d’Or-winning fantasia”Wild at Heart” (1990) in digital projection.
WILD AT HEART | 1990 | DIRECTOR: David Lynch | WITH: Nicolas Cage, Laura Dern, Willem Dafoe, Diane Ladd, Harry Dean Stanton | RUNNING TIME: 2H 5M | RATED R for strong bloody violence, vulgar language, sexual content, nudity, adult themes | DIGITAL PROJECTION
Young lovers Sailor and Lula run from the variety of weirdos that Lula’s mom has hired to kill Sailor.

”Wild at Heart” has as its inspiration Barry Gifford’s road novel about Lula Pace Fortune and her lover, Sailor Ripley. Lula is just 20 years old and self-described as hotter than Georgia asphalt. Sailor Ripley is a gentle young man who has just served 22 months and 18 days for manslaughter, having killed a man who attacked him with a knife.
“Mr. Lynch has taken this slim, vivid work and pumped it up into a cockeyed epic that goes back to the early days of Pop art.
“In the center of the picture are the sweetly dopey, flat, shadowless figures of Lula (Laura Dern) and Sailor (Nicolas Cage), driving toward Big Tuna and earnestly realizing their destiny. Along the way they make intense love, smoke Kools and Camels, eat burgers, drink beer and consider the future (”I’m sorry, Sailor,” says Lula after some introspection, ”but the ozone layer is disappearing.”)
“Around Lula and Sailor Mr. Lynch has created a kind of frieze of melodramatic characters and events – flashbacks as well as concurrent actions, which sometimes enrich the film and sometimes have no pertinence except as found objects. It’s a matter of scale again.” — Vincent Canby, The New York Times
The screening will be introduced by Bill Cosford Cinema manager Rene Rodriguez. Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission. Cane card must be shown at the door.

SUNDAYS AT THE U WITH MOVIES: "DIVA" (1981)
2024-08-11 13:00 - 15:30 UTC
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Join us for our weekly Sunday 1 p.m. matinee screening series with the 1981 arthouse smash “Diva,” in digital projection.
DIVA | 1981 | DIRECTOR: Jean-Jacques Beineix | WITH: Wilhelmina Fernandez, Frederic Andrei, Roland Bertin | RUNNING TIME: 1H 57M | RATED R for brief violence, sexual situations, nudity and adult themes | DIGITAL PROJECTION
Jean-Jacques Beineix (“Betty Blue,” “The Moon in the Gutter”) directs this exhilarating action-thriller about Jules, a young opera-loving mailman who becomes inadvertently entangled in murder after a young woman fleeing two mob hit men drops an incriminating cassette into his mailbag.
Jules has just recently recorded opera star Cynthia Hawkins’ latest concert, something of a coup as Hawkins refuses to make recordings of any kind. Soon Jules finds himself the target of the hit men, who want the voice recording, and also of another couple of ominous and mysterious agents.

“Take the chase between that moped and a cop. I didn’t think I could find this movie more enthralling or impressive. Then these two go at it. The pursuit starts on the streets, vrooming through the arcades along Rue de Rivoli, plunges into the Métro and, fittingly for this movie, terminates at the feet of the Paris Opera.
“When Jules motors down into the subway, most cops would give up. This one abandons his car and uses his feet. I haven’t seen anybody want to catch anything this desperately and this unsuccessfully since Wile E. Coyote. You can imagine Tom Cruise refusing to relent, too. But after Jules gets away, you’d never catch Cruise this doubled over and out of breath. — Wesley Morris, The New York Times
The screening will be introduced by Bill Cosford Cinema manager Rene Rodriguez. Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission. Cane card must be shown at the door.

SUNDAYS AT THE U WITH MOVIES: "I AM LOVE" (2009)
2024-08-25 13:00 - 15:00 UTC
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Join us at 1 p.m. Sunday, Aug. 25, for the kickoff screening of the 2024 fall edition of “Sundays at The U with Movies.”
Our first title will be Luca Guadagnino’s 2009 Oscar-nominated masterpiece “I Am Love,” starring Tilda Swinton.
I AM LOVE | 2009 | DIRECTOR: Luca Guadagnino | WITH: Tilda Swinton, Flavio Parenti, Edoardo Gabbriellini, Alba Rohrwacher | RUNNING TIME: 2 HOURS | RATED R for nudity, sexual content | LANGUAGE: Italian, Russian, English | DIGITAL PROJECTION
Emma (played by Swinton) left Russia to live with her husband in Italy. Now a member of a powerful industrial family, she is the respected mother of three, but feels unfulfilled. One day, Antonio, a talented chef and her son’s friend, makes her senses kindle.

““I Am Love” is an amazing film. It is deep, rich, human. It is not about rich and poor, but about old and new. It is about the ancient war between tradition and feeling. For this role, Tilda Swinton learned to speak Italian with a Russian accent, as Tilda Swinton would, but her performance is nothing as trivial as a feat of learning.
“She evokes Emma as a woman who for years has accepted the needs of the Recchis and discovers in a few days to accept her own needs. She must have been waiting a long time for Antonio, whoever he would be.” — Roger Ebert
Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission (must show Cane card at the door).

SUNDAYS AT THE U WITH MOVIES: "THE GLEANERS AND I" (2000)
2024-09-08 13:00 - 15:00 UTC
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Join us at 1 p.m. Sunday, Sept. 8, for a screening of Agnes Varda’s “The Gleaners and I” (2000), a self-reflexive documentary in which the French cinema icon explores the world of modern-day gleaners: those living on the margins who survive by foraging for what society throws away. The movie ranked 69th in the 2022 Sight and Sound poll of the 100 greatest movies ever made.
THE GLEANERS AND I | 2000) | WRITER-DIRECTOR: Agnes Varda | RUNNING TIME: 1H 22M | IN FRENCH WITH ENGLISH SUBTITLES | UNRATED No offensive material | PROJECTED in 2K DCP format
Embracing the intimacy and freedom of digital filmmaking, Varda posits herself as a kind of gleaner of images and ideas, one whose generous, expansive vision makes room for ruminations on everything from aging to the birth of cinema to the beauty of heart-shaped potatoes.
By turns playful, philosophical, and subtly political, “The Gleaners and I” is a warmly human reflection on the contradictions of our consumerist world from an artist who, like her subjects, finds unexpected richness where few think to look.

“In “The Gleaners and I,” Varda has a new tool–a modern digital camera. We sense her delight. She can hold it in her hand and take it anywhere. She is liberated from cumbersome equipment. “To film with one hand my other hand,” she says, as she does so with delight. She shows how the new cameras make a personal essay possible for a filmmaker–how she can walk out into the world and without the risk of a huge budget simply start picking up images as a gleaner finds apples and potatoes.
“My hair and my hands keep telling me that the end is near,” she confides at one point, speaking confidentially to us as the narrator. She told her friend Howie Movshovitz, the critic from Boulder, Colo., how she had to film and narrate some scenes while she was entirely alone because they were so personal. In 1993 she directed “Jacquot de Nantes,” the story of her late husband, and now this is her story of herself, a woman whose life has consisted of moving through the world with the tools of her trade, finding what is worth treasuring.” — Roger Ebert
Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission (must show Cane card at the door).

"THE CRITIC" FREE SNEAK PREVIEW SCREENING
2024-09-09 19:30 - 21:30 UTC
In collaboration with the Miami Jewish Film Festival, join us for a free preview screening of “The Critic,” starring Ian McKellen, Gemma Artenton and Mark Strong. The screening will be held at 7:30 p.m. Monday Sept. 9. No registration/tickets required.
Set against the backdrop of 1935 pre-WWII England, this gripping tale delves into the cutthroat world of theatre, where ambition and deceit reign supreme.

Admission is free. No registration required.

SUNDAYS AT THE U WITH MOVIES: "BLACK NARCISSUS" (1947)
2024-09-15 13:00 - 15:00 UTC
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Join us at 1 p.m. Sunday, Septermber 15, for a screening of 1947’s “Black Narcissus.” This explosive work about the conflict between the spirit and the flesh is the epitome of the sensuous style of co-directors Michael Powell and Emeric Pressburger.
BLACK NARCISSUS | 1947 | DIRECTORS: Michael Powell, Emeric Pressburger | WITH: Deborah Kerr, Kathleen Byron, Flora Robson | RUNNING TIME: 1H 41M | UNRATED no offensive material | PROJECTED IN 2K DCP
A group of nuns—played by some of Britain’s finest actresses, including Deborah Kerr, Kathleen Byron, and Flora Robson—struggle to establish a convent in the Himalayas, while isolation, extreme weather, altitude, and culture clashes all conspire to drive the well-intentioned missionaries mad. A darkly grand film that won Oscars for Alfred Junge’s art direction and Jack Cardiff’s cinematography, Black Narcissus is one of the greatest achievements by two of cinema’s true visionaries.

“Black Narcissus is a film about people who try and fail to remake the world to their specifications, and it was paradoxically made by people who control every square inch of the environment being represented—every sliver of light, every quavering breeze—in order to render its effect on frozen consciousness as vividly and dramatically as possible.
“The sisters in Black Narcissus are taken aback to find their buried memories and unfulfilled yearnings spontaneously conjured to life as they contemplate the apparently limitless horizon. “I think you can see too far,” observes Sister Philippa (Flora Robson, who gives the film’s most delicate and underrated performance), by way of explaining the sudden intrusion of past experiences into her heretofore perfect spiritual life.
“in Black Narcissus, the growing affection and understanding between David Farrar’s Mr. Dean and Deborah Kerr’s Sister Clodagh, both fixed in their solitude, remain unremarked and unfulfilled, a matter of quick glances, sympathetic exchanges, and poignantly masked surges of feeling.” — Kent Jones
Tickets are $5 and available at link above. Students use UMSTUDENT for free admission (must show Cane card at the door).

"LEE" (2023) FREE PREVIEW SCREENING
2024-09-16 19:30 - 21:30 UTC
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In conjunction with the Miami Jewish Film Festival, the Cosford Cinema invites you to a free preview screening of “Lee,” the true story of a fashion photographer who became a war correspondent during World War II, starring Kate Winslet. The screening will be held at 7:30 p.m. Monday, Sept. 16.
LEE | 2023 | DIRECTOR: Ellen Kuras | WITH: Kate Winslet, Alexander Skarsgard, Andy Samberg, Andrea Riseborough, Marion Cotillard, Josh O’Connor | RUNNING TIME: 1 HOUR 56 MINUTES | RATED R for disturbing images, language and nudity | PROJECTED IN 4K DCP
The directorial feature from award-winning cinematographer Ellen Kuras portrays a pivotal decade in the life of American war correspondent and photographer, Lee Miller (Kate Winslet).
Miller’s singular talent and unbridled tenacity resulted in some of the 20th century’s most indelible images of war, including an iconic photo of Miller herself, posing defiantly in Hitler’s private bathtub.
Miller had a profound understanding and empathy for women and the voiceless victims of war. Her images display both the fragility and ferocity of the human experience. Above all, the film shows how Miller lived her life at full-throttle in pursuit of truth, for which she paid a huge personal price, forcing her to confront a traumatic and deeply buried secret from her childhood.

“In a lifetime of well-chosen roles, this may be Kate Winslet’s richest. She gives us a restless, fierce, independent woman who found her voice as a witness to war, and paid the psychological price. To direct, Winslet brought on the great cinematographer Ellen Kuras, who worked with her on “Eternal Sunshine of the Spotless Mind,” and who shapes the film with supreme authority and intelligent choices at every turn. — Caryn James, BBC
Admission is FREE but registration required at link above.

SUNDAYS AT THE U WITH MOVIES: "ONE FALSE MOVE" (1991)
2024-09-22 13:00 - 15:00 UTC
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Join us at 1 p.m. Sunday, September 22 for a screening of “One False Move” (1991), the suspenseful thriller about the collision course between a small-town sheriff and a group of dangerous killers.
ONE FALSE MOVIE | 1991 | DIRECTOR: Carl Franklin | WITH: Bill Paxton, Billy Bob Thornton, Cynda Williams, Michael Beach | RUNNING TIME: 1H 45M | RATED R for strong violence, language and drug content | 4K DIGITAL PROJECTION
A small-town police chief (Bill Paxton) concealing an explosive secret. A pair of ruthless drug dealers (cowriter Billy Bob Thornton and Michael Beach) who leave a bloody trail in their wake as they make their way from Los Angeles to Arkansas. And an enigmatic woman (Cynda Williams) caught in the middle.
The way these desperate lives converge becomes a masterclass in slow-burn tension thanks to the nuanced direction of Carl Franklin, whose haunting film travels a crooked road across America’s most fraught divisions—urban and rural, Black and white—while imbuing noir conventions with a wrenching emotional depth.

“One False Move is many things. A stunning nineties neonoir. A tragedy. A movie that says more about race and class without being didactic than many others that try hard to say something. A road picture. A lovers-on-the-run tale. A flawless encapsulation of the desperate energy and desperate deeds that fuel real crime. It feels timeless. It’s a structural marvel. A study in tension and pacing.
“Having moved from Brooklyn to Mississippi over a decade ago, I feel like I understand the film in ways now that I couldn’t have previously. It’s a complex portrait of the South. The awful weight of history and tradition. Kindness often masking complicity. Buried secrets. The atmosphere misted over with sins of the past. Attempts to smile through pain and yearning. Cycles of poverty and grief and near escape. Dark humor.
“More than thirty years later, watching One False Move brings me back to being the kid I was when I first saw it: trying to understand the world, seeking art that tells the truth, and finding something this urgent and poetic and haunting.” — William Boyle
Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission (Cane card will be checked at the door).

"A DIFFERENT MAN" (2024) FREE ADVANCE SCREENING
2024-09-23 19:30 - 21:30 UTC
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Join us at 7:30 p.m. Monday, September 23, for a free advance screening of “A Different Man,” the story of a man who undergoes facial reconstructive surgery, then becomes fixated on an actor in a stage production based on his former life.
A DIFFERENT MAN | 2024 | WRITER-DIRECTOR: Aaron Schimberg | WITH: Sebastian Stan, Adam Pearson, Renate Reinsve, Miles G. Jackson | RUNNING TIME: 1 HOUR 52 MINUTES | RATED R for sexual content, graphic nudity, language and some violence | PROJECTED IN 4K DCP FORMAT
Aspiring actor Edward undergoes a radical medical procedure to drastically transform his appearance. But his new dream face quickly turns into a nightmare, as he loses out on the role he was born to play and becomes obsessed with reclaiming what was lost.

“It’s tempting to interpret “A Different Man” as a dark and damning satire of our social conditioning, which has convinced us to see asymmetry as ugliness, and internalize ugliness as inhuman. But while that might be a more accurate distillation of what Schimberg is doing here, leaving it there would fail to convey the full ambition of a deliriously surreal psycho-thriller that complicates its own identity at every turn.
“By refracting Brian De Palma’s self-reflexiveness and the Coen brothers’ mordant fatalism through the prism of his most personal obsessions, Schimberg creates a house of mirrors so brilliant and complex that it becomes impossible to match any of his characters to their own reflections, and absolutely useless to reduce the movie around them to the stuff of moral instruction.” — David Ehrlich, IndieWire
Admission is FREE but registration required at link above.

"LEGALLY BLONDE" (2001) FREE SCREENING
2024-09-24 20:00 - 22:00 UTC
Get Out the Vote proudly presents “Legally Blonde” in collaboration with the Cinematic Arts Commission.
Reese Witherspoon stars in the iconic role of Elle Woods, a fashionable sorority queen who is dumped by her boyfriend. She decides to follow him to law school. While she is there, she figures out that there is more to her than just looks.
The movie screening begins at 8 p.m. on Tuesday Sept. 24. The screening is free and no tickets or registration are required.
GOTV will be giving out treats and voter registration resources starting at 7 p.m. We hope to see you there!
“You registered to vote?”
“What, like it’s hard?”

"MEGALOPOLIS" (2024) FREE ADVANCE SCREENING
2024-09-25 19:00 - 21:30 UTC
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You are invited to a free advance screening of Francis Ford Coppola’s eagerly-awaited, $120 million epic “Megalopolis,” starring Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Aubrey Plaza and Dustin Hoffman. The screening will take place at 7 p.m. Wednesday, Sept. 25. There is a limit of four tickets per registration. Seating is not guaranteed so please arrive early.
MEGALOPOLIS | (2024) | WRITER-DIRECTOR: Francis Ford Coppola | WITH: Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Aubrey Plaza, Shia LaBeouf, Jon Voight, Laurence Fishburne, Talia Shire, Jason Schwartzman, Dustin Hoffman | RUNNING TIME: 2 HOURS 18 MINUTES | RATED R for sexual content, nudity, drug use, language and some violence | PROJECTED IN 4K DCP
The city of New Rome is the main conflict between Cesar Catilina, a brilliant artist in favor of a utopian future, and the greedy mayor Franklyn Cicero. Between them is Julia Cicero, her loyalty divided between her father and her beloved.

“After more than 40 years of idly fantasizing about the project (and more than 20 years of actively trying to finance it), Coppola is bringing “Megalopolis” to screens at a moment when his chosen medium is struggling to find a way forward, and the world around it seems teetering on the brink of collapse.
“Just as in 63 B.C., when an evil patrician named Catiline appealed to a coalition of malcontents in a bid to overthrow the Republic, we are choked by the grip of delusional aristocrats and vertically integrated conglomerates whose lust for power and profit is only matched by their lack of foresight. Even with the past as our guide, we are at imminent risk of allowing the now to destroy the forever.
“Coppola has always believed in America, but his faith is eroding by the second, and “Megalopolis” is nothing if not the boldest and most open-hearted of his many bids to stop time before it’s too late (an effort that has informed so much of his career, from “Peggy Sue Got Married” and “Bram Stoker’s Dracula” to “Youth After Youth” and “Jack”). As ever, he recognizes the futility in the attempt, even if his characters are sometimes a bit slow on the uptake.
What elevates “Megalopolis” so far above those other films is how clearly the constant madness of its folly and the occasional disaster of its design serve as conduits for its writer/director/producer/financier’s entire creative ethos. Coppola might lack the imagination required to invent the new cinema that his new movie so desperately wishes it could will into being (he’s not even De Palma in that respect, let alone Godard), but he’s always seen the need for it better and more urgently than any of his contemporaries.” — David Ehrlich, Indiewire
Admission is FREE but registration required at link above. Film will start on time so please arrive early. There is a limit of four tickets per registration.

"ST. VIERJA ACADEMY" PREMIERE SCREENING
2024-09-27 19:00 - 21:30 UTC
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You are invited to attend the film premiere of “St. Vierja Academy,” a drama about a man forced to confront the ghosts of his past as a teenager when he was enrolled in one of Panama’s most exclusive catholic schools for boys during the 1970s. The free screening will take place at 7 p.m. Sept. 27.
ST. VIERJA ACADEMY | 2024 | WRITER-DIRECTOR: Jose Stoute | WITH: Andres Marin, Diego Alvarez, Edward Jose, Gustavo Chevasco | RUNNING TIME: 1 HOUR 45 MINUTES | IN SPANISH WITH ENGLISH SUBTITLES | UNRATED contains strong adult themes | PROJECTED IN 2K DCP
After the unexpected death of an old friend from high school, a U.S.-based physician returns to his native Panama to pay his respects. As he visits the cemetery, he relives his memories from his time at the prestigious St. Vierja Academy.
Facing memories of challenges and personal struggles, he is forced to confront old wounds and questions the beliefs that shaped his identity.
“St. Vierja Academy” is the inspiring story of our protagonist who struggles to survive the bullying, ridicule, abuse and rigor of one of the most exclusive Catholic schools in Panama in the 1970s.
The screening will be followed by a Q&A with director Jose A. Stoute and a reception. Admission is FREE but registration required at link above.

WATCHING MOVIES WITH RICHARD BLANCO: "THE NOTEBOOK" (2004)
2024-09-28 17:00 - 20:00 UTC
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Come meet Richard Blanco, the fifth Presidential Inaugural Poet in U.S. history, as he introduces a screening of the 2004 hit “The Notebook” then participates in a Q&A with the audience about his relationship to films. The screening will take place at 5 p.m. Saturday, September 28.
THE NOTEBOOK | 2004 | DIRECTOR: Nick Cassavetes | WITH: Ryan Gosling, Rachel McAdams, Gena Rowlands, James Garner, Sam Shepard, James Marsden, Joan Allen | RUNNING TIME: 2H 3M | RATED PG-13 for some sexuality | PROJECTED IN 2K DCP
An elderly man reads to a woman with dementia the story of two young lovers whose romance is threatened by the difference in their respective social classes.

Selected by President Obama as the fifth Presidential Inaugural Poet in U.S. history, Richard Blanco was the youngest, the first Latinx, immigrant, and gay person to serve in that role.
In 2023, Blanco was awarded the National Humanities Medal by President Biden from the National Endowment for the Humanities.

Born in Madrid to Cuban exile parents and raised in Miami in a working-class family, Blanco’s personal negotiation of cultural identity and the universal themes of place and belonging characterize Blanco’s many collections of poetry, including his most recent, “Homeland of My Body,” which reassess traditional notions of home as strictly a geographical, tangible place that merely exist outside us, but rather, within us.
Blanco has received numerous awards, including the Agnes Starrett Poetry Prize, the PEN American Beyond Margins Award, the Patterson Prize, and a Lambda Prize for memoir. He was Woodrow Wilson Fellow and has received numerous honorary degrees. Currently, he serves as Education Ambassador for The Academy of American Poets and is an Associate Professor at Florida International University.
In April 2022, Blanco was appointed the first-ever Poet Laureate of Miami-Dade County.
Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission (must show Cane card at the door).

WATCHING MOVIES WITH FAREN HUMES: "THE LANDLORD" (1970)
2024-10-05 17:00 - 20:00 UTC
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Come meet Miami filmmaker Faren Humes as she introduces a screening of the 1970 cult classic “The Landlord,” then participates in a Q&A with the audience about her lifelong relationship to films. The screening will take place at 5 p.m. Saturday, October 5.
THE LANDLORD | 1970 | DIRECTOR: Hal Ashby | WITH: Beau Bridges, Lee Grant, Diana Sands, Pearl Bailey, Louis Gossett Jr. | RUNNING TIME: 1H 52M | RATED R for language, brief sexual content | PROJECTED IN DIGITAL FORMAT
A naïve 29-year-old man buys a building in a black Brooklyn ghetto to evict the tenants and upgrade it. But instead, he grows fond of the tenants and falls in love with a mixed-race girl while his wealthy parents disapprove.

Faren Humes is an artist + filmmaker from Florida whose work has screened at Berlinale, SXSW, AFI Fest and Miami Film Festival. She has held fellowships with United States Artists, Guggenheim Foundation and Harvard’s Radcliffe Institute. She is currently furthering a body of work concerning the continuation and interconnectedness of Black Miami.

Tickets are $5 and available at link above. Students use code UMSTUDENT at checkout for free admission (must show Cane card at the door).
