SUNDAYS AT THE U WITH MOVIES: "CHUNGKING EXPRESS" (1994)
2025-04-20 13:00 - 15:00 UTC | Cosford Cinema, 5030 Brunson Drive, Coral Gables, FL, 33146, United States
BUY TICKETS HERE
You’re invited to a screening of Wong Kar Wai’s breakthrough 1994 hyper-kinetic tale of romantic longing, “Chungking Express,” at 1 p.m. Sunday April 20th.
The whiplash, double-pronged “Chungking Express” is one of the defining works of nineties cinema and the film that made Hong Kong filmmaker Wong Kar Wai an instant icon. Two heartsick Hong Kong cops (Takeshi Kaneshiro and Tony Leung), both jilted by ex-lovers, cross paths at the Midnight Express take-out restaurant stand, where the ethereal pixie waitress Faye (Faye Wong) works.
Anything goes in Wong’s gloriously shot and utterly unexpected charmer, which cemented the sex appeal of its gorgeous stars and forever turned canned pineapple and the Mamas and the Papas’ “California Dreamin’” into tokens of romantic longing.

“For my money, Wong Kar Wai is one of the most exciting filmmakers that has come out since I’ve personally been making films. His movies have a level of excitement that’s different from American films, like the majority of Hong Kong films. But his are a little bit different.
“I saw “Chungking Express” when I was with “Pulp Fiction” at a festival in Stockholm. It just blew me away. I just absolutely adored it. I love romantic films and this movie had this wonderful romantic-comedy element to it while at the same time being encapsulated in this crazy, frenetic Hong Kong world, which is wild. Wong Kar Wai has all the frantic energy of a John Woo or Ringo Lam but he’s also taking a cue from the sense of fun of the French New Wave films of the late 1950s and early 1960s.” — Quentin Tarantino
Tickets are $6 (including service charge) and available at link above. UM students use code UMSTUDENT at checkout for free admission (must show Cane card at the door.)

"ANOTHER SIMPLE FAVOR" (2025) FREE EARLY SCREENING
2025-04-22 19:30 - 21:30
REGISTER FOR TICKETS HERE
Join us at 7:30 p.m. Tuesday, April 22, for a free screening of the upcoming new thriller “Another Simple Favor,” starring Blake Lively and Anna Kendrick.
Stephanie Smothers and Emily Nelson reunite on the island of Capri, Italy, for Emily’s extravagant wedding to a rich Italian businessman, which is is interrupted by murder and betrayal.

Admission is FREE but registration required at link above.

“PADDINGTON IN PERU” (2024) FREE SCREENING
2025-04-23 21:00 - 23:00, 2025-04-26 20:00 - 22:00
The University of Miami’s Cinematic Arts Commission invites you to a free screening of “Paddington In Peru” (2024) on Wednesday, Apr. 23rd at 9 p.m. and Saturday, Apr. 26th at 8 p.m.
Paddington returns to Peru to visit his beloved Aunt Lucy, who now resides at the Home for Retired Bears. With the Brown family in tow, a thrilling adventure ensues when a mystery plunges them into an unexpected journey.

Admission is FREE and no tickets required!

"HOW TO TRAIN YOUR DRAGON" (2025) FREE ADVANCE SCREENING
2025-04-24 19:30 - 21:30
REGISTER FOR FREE TICKETS HERE
Join us at 7:30 p.m. Thursday, April 24, for an early screening of the upcoming “How To Train Your Dragon” live-action adventure written and directed by Dean DeBlois, the creator of the previous “How To Train Your Dragon” animated films. Admission is free but registration required at link.
As an ancient threat endangers both Vikings and dragons alike on the isle of Berk, the friendship between Hiccup, an inventive Viking, and Toothless, a Night Fury dragon, becomes the key to both species forging a new future together.

Admission is FREE but registration required at link. Ticket does not guarantee entry, so please arrive early.

"HOPE REBORN: THE MOVIE" (2025) FREE SCREENING
2025-04-26 17:00 - 19:30
REGISTER FOR FREE TICKETS HERE
HOPE REBORN is a full-length, faith-based film, created by Comunità Cenacolo, about a spiritual sanctuary where souls who’ve lost all hope are rescued through a conscientious program of prayer, work, love, as well as life-changing community projects and experiences.
Showtime is 5 p.m. Saturday, April 26th. The screening will be followed by a panel discussion. Admission is FREE but registration required at link above.

SUNDAYS AT THE U WITH MOVIES: "L'ARGENT" (1983)
2025-04-27 13:00 - 15:00
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Join us at 1 p.m. Sunday, April 27th for a screening of Robert Bresson’s naturalistic 1983 classic “L’argent” (“Money”)in French with English subtitles.
In his ruthlessly clear-eyed final film, French master Robert Bresson pushed his unique blend of spiritual rumination and formal rigor to a new level of astringency.
Transposing a Tolstoy novella to contemporary Paris, “L’argent” follows a counterfeit bill as it originates as a prop in a schoolboy prank, then circulates like a virus among the corrupt and the virtuous alike before landing with a young truck driver and leading him to incarceration and violence.
With brutal economy, Bresson constructs his unforgiving vision of original sin out of starkly perceived details, rooting his characters in a dehumanizing material world that withholds any hope of transcendence.

“Set in contemporary France in an unidentified city that sometimes seems to be Paris but probably isn’t, ”L’argent” (Money) is a serenely composed film that tells a ruthless tale of greed, corruption and murder without once raising its voice. It goes beyond the impartiality of journalism. It has the manner of an official report on the spiritual state of a civilization for which there is no hope.
“Like all Bresson films, ”L’argent” can’t be interpreted exclusively in social, political or psychological terms. Mr. Bresson’s characters act out dramas that have been in motion since the birth of the planet. He’s not a fatalist, but he insists on recognizing inevitable consequences, given a set of specific circumstances.” — Vincent Canby, The New York Times
Tickets are $6 (including service fee) and available at link above. Students with college ID use code UMSTUDENT at checkout for free admission (must show student ID at the door).

1968 (2018)
2025-04-27 17:00
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Directed by Tassos Boulmetis
2018 | 93 mins
In Greek with English subtitles
With Antonis Kafetzopoulos, Stelios Mainas, Errikos Litsis, Ieroklis Michailidis, Giorgos Mitsikostas, Vasiliki Troufakou, Themis Panou, Antonis Antoniou.
April 4th, 1968. The Kallimarmaro Stadium is a buzz, with thousands of people gathered and millions listening through their radios. The AEK – Slavia Prague basketball game has just begun. A girl in love is dreaming of her wedding day, while the future husband becomes more desperate with every Greek ball going through the hoop. An elderly husband and wife remember the home they left behind. A young communist prisoner cheers from his jail cell and a PROPO betting shop becomes the place where old and new wounds resurface. Years before this night, three Constantinopolitans decided to create an athletic union that will tell their story. At the end of this night, Greek history will have changed forever.
4:00 p.m. – Opening social hour with Greek coffee selection
5:00 p.m. – Film Screening
6:45 p.m. – A taste of Greece with a variety of authentic meze, music and discussion

On April 4, 1968, an epic basketball game between the Greek AEK team and Slavia Prague, against all odds, gave Greece its first European Cup, a Guinness world record for the largest attendance at a basketball game (80,000 in the Panathenaic Stadium), and a victory that is still talked about. More than just a thrilling David and Goliath story, acclaimed director Tassos Boulmetis uses this historic sporting event to create a docudrama that reveals the fascinating personal and political histories that came to play on the court that night against a backdrop of upheaval that rocked the world in 1968.
Nominated for five Hellenic Film Academy Awards, including Best Film
Tickets: 1968 tickets
About:
The Hellenic Cultural Society’s Film Program celebrates and promotes the work and talent of established and emerging Greek, Cypriot and Greek/Cypriot Heritage filmmakers. At the South Florida Greek Film Festival and at Film Nights, screenings of full-length films, documentaries, shorts, discussions, provide opportunities to connect, to inspire, to entertain and to share the richness of the Greek culture.

2025 'CANES FILM FESTIVAL
2025-05-02 16:00 - 20:45, 2025-05-03 14:00 - 20:30, 2025-05-04 13:15 - 21:00
27th ‘Canes Film FestivalFriday, May 2, 4:00 PM – 8:45 PM
Saturday, May 3, 2:00 PM – 8:30 PM
Sunday, May 4, 1:15 PM – 9:00 PM FREE ADMISSION NO TICKETS REQUIRED
Experience the 27th Annual UM ‘Canes Film Festival, featuring original films created by students from the University of Miami’s Department of Cinematic Arts. Screenings will take place at the state-of-the-art Cosford Cinema on the following dates and times:

Friday, May 2 at 4:00 p.m.
Saturday, May 3 at 2:00 p.m.
Sunday, May 4 at 1:15 p.m.

Don’t miss this inspiring celebration of emerging talent in film.
For full program visit: canesfilmfestival.com

SUNDAYS AT THE U WITH MOVIES: "IRMA VEP" (1996)
2025-06-08 13:00 - 15:00
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Join us at 1 p.m. Sunday, June 8th for director Oliver Assayas’ dazzling film-industry satire “Irma Vep,” starring Maggie Cheung, which inspired the recent HBO miniseries.
IRMA VEP | 1996 | DIRECTOR: Oliver Assayas | WITH: Maggie Cheung, Jean-Pierre Léaud, Nathalie Richard, Nathalie Boutefeu | UNRATED contains sexual situations and adult content | RUNNING TIME: 1H 39M | In English and French with English subtitles
Olivier Assayas’s live-wire international breakthrough stars a magnetic Maggie Cheung as a version of herself: a Hong Kong action-movie star who arrives in Paris to play the latex-clad lead in a remake of Louis Feuillade’s classic silent crime serial Les vampires.
What she finds is a behind-the-scenes tangle of barely controlled chaos as egos clash, romantic attractions simmer, and an obsessive director drives himself to the brink to realize his vision.
Blending blasts of silent cinema, martial-arts flicks, and the music of Sonic Youth and Luna into a hallucinatory swirl of postmodern cool, Assayas composes in “Irma Vep” a witty critique of the nineties French film industry and the perennial tension between art and commercial entertainment.

“There are innumerable great touches, big and small, in ‘Irma Vep,’ which is organic and alive like few movies ever are. (It was shot on the fly in three weeks, and the spontaneity shows.) But the one sequence that everyone who’s seen the film remembers is a restless Maggie slipping into her catsuit after hours and skulking around the hotel like Irma Vep in the movie. Only this time, she embodies the role effortlessly—she’s sexy, mysterious, resourceful, and liberated. — Scott Tobias, The AV Club
Tickets are $6 (including service charge) and available at link above. Students use code STUDENT at checkout for free admission (must show student ID at the door).

SUNDAYS AT THE U WITH MOVIES: "TO DIE FOR" (1995)
2025-06-15 13:00 - 15:00
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Join us at 1 p.m. Sunday, June 15th, for a screening of the 1995 dark-comedy classic “To Die For,” starring Nicole Kidman, Matt Dillon and Joaquin Phoenix.
TO DIE FOR | 1995 | DIRECTOR: Gus Van Sant | WITH: Nicole Kidman, Matt Dillon, Joaquin Phoenix, Casey Affleck, Ileana Douglas | RATED R for vulgar language, sexual content and brief violence | RUNNING TIME: 1H 46M
The all-American obsession with celebrity turns monstrous in this deliciously subversive (and disturbingly prescient) satire of our television-mediated, true-crime-obsessed age.
In a career breakthrough, Nicole Kidman delivers a diabolical deconstruction of the girl next door as a local TV weather reporter whose perfectly perky facade belies a murderous heart, as her ruthless pursuit of fame ensnares three disaffected teens in a sordid, tabloid-ready scandal.
Deftly deploying shifting perspectives, faux-documentary interviews, and a supporting cast featuring Joaquin Phoenix, Matt Dillon, and Casey Affleck, director Gus Van Sant adds provocative layers of meaning to this darkly funny examination of suburban sociopathy.

“To Die For” is the kind of movie that’s merciless with its characters, and Kidman is superb at making Suzanne into someone who is not only stupid, vain and egomaniacal (we’ve seen that before) but also vulnerably human. She represents, on a large scale, feelings we have all had in smaller and sneakier ways. She simply lacks skill in concealing them.
“The film is filled with perfect character studies. Dillon, the former teen idol whose acting has always been underrated, here turns in a sly comic performance as a man dazzled by beauty but seduced by comfort. Illeana Douglas is Janice, Suzanne’s ice-skating sister-in-law, who spots her as a phony and makes life uncomfortable by calling her on it.
“Finally, though, the movie is about Suzanne, and Nicole Kidman’s work here is inspired. Her clothes, her makeup, her hair, her speech, her manner, even the way she carries herself (as if aware of the eyes of millions) are all brought to a perfect pitch: Her Suzanne is so utterly absorbed in being herself that there is an eerie conviction, even in the comedy. She plays Suzanne as the kind of woman who pities us – because we aren’t her, and you know what? We never will be.” — Roger Ebert
Tickets are $6 (including service charge) and available at link above. Students use code STUDENT at checkout for free admission (must show student ID at the door).

SUNDAYS AT THE U WITH MOVIES: "LA PROMESSE" (1996)
2025-06-22 13:00 - 15:00
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Join us at 1 p.m. Sunday, June 22 for the heartfelt coming-of-age drama “La promesse” (“The Promise”), the directorial debut of acclaimed Belgian filmmaking brothers Jean-Pierre and Luc Dardenne.
LA PROMESSE | 1996 | DIRECTORS: Jean-Pierre Dardenne, Luc Dardenne | WITH: Jérémie Renier, Olivia Gourmet, Assita Ouedraogo | RUNNING TIME: 1H 30M | UNRATED: Adult themes | In French with English subtitles
“La promesse” is the breakthrough feature from Luc and Jean-Pierre Dardenne, who would go on to become a force in world filmmaking.
The brothers brought the unerring eye for detail and the compassion for those on society’s lowest rungs developed in their earlier documentary work to this absorbing drama about a teenager (Jérémie Renier) gradually coming to understand the implications of his father’s making a living through the exploitation of undocumented workers.
Filmed in the Dardennes’ industrial hometown of Seraing, Belgium, “La promesse” is a brilliantly economical and observant tale of a boy’s troubled moral awakening.

“Morality is a given in the movies; everyone, even the worst of creatures, knows if they’re bad or good. In “La Promesse,” an exceptional film from Belgium, all of that is reversed as a sense of right and wrong struggles to emerge in a young man who never knew there was a difference. The conflicts involved are intense and absorbing, proving that compelling moral dilemmas make for the most dramatic cinema.
““La Promesse” makes being politically relevant and philosophically thoughtful so simple and involving that the story seems to be telling itself. Written and directed by Luc and Jean-Pierre Dardenne, a pair of filmmaking brothers, it is made with such unobtrusive sureness that it’s able to exert great power without forcing anything.
“Among the many things it does right, “La Promesse” refuses to even consider glib solutions. This film understands that moral choices are a painful, troublesome business, that decisions to do the right thing are not simple to take and hardly make things easier. Nothing in life takes more courage, and no kind of filmmaking offers greater rewards.” — Kenneth Turan, Los Angeles Times
Tickets are $6 (including service charge) and available at link above. Students use code STUDENT at checkout for free admission (must show student ID at the door).

SUNDAYS AT THE U WITH MOVIES: "TO SLEEP WITH ANGER" (1990)
2025-06-29 13:00 - 15:00
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Join us at 1 p.m. Sunday, June 29, for a rare screening of Charles Burnett’s 1990 drama “To Sleep with Anger,” about a family living in South Central Los Angeles who receive a visit from a charismatic stranger (Danny Glover).
TO SLEEP WITH ANGER | 1990 | WRITER-DIRECTOR: Charles Burnett | WITH: Danny Glover, Paul Butler, Mary Alice, Carl Lumbly, Sheryl Lee Ralph | RUNNING TIME: 1H 42M | RATED: PG for adult themes
A slow-burning masterwork of the early 1990s, this third feature by Charles Burnett is a singular piece of American mythmaking.
In a towering performance, Danny Glover plays the enigmatic southern drifter Harry, a devilish charmer who turns up out of the blue on the South Central Los Angeles doorstep of his old friends. In short order, Harry’s presence seems to cast a chaotic spell on what appeared to be a peaceful household, exposing smoldering tensions between parents and children, tradition and change, virtue and temptation.
Interweaving evocative strains of gospel and blues with rich, poetic-realist images, “To Sleep with Anger” is a sublimely stirring film from an autonomous artistic sensibility, a portrait of family resilience steeped in the traditions of African American mysticism and folklore.

“Charles Burnett’s “To Sleep With Anger” is a subtle kind of horror movie in which the unwelcome visitor is not a slasher or a cartoon character, but a soft-spoken relative named Harry, getting on a bit in years, well-dressed, seemingly courteous. The tension in the movie is created as he stays and stays, until he is clearly unwelcome and yet no one can figure out a way to get rid of him. And the horror element comes as it begins to dawn on us, and the characters in the movie, that this man is some sort of emissary of evil. Perhaps not Satan precisely, but familiar with the neighborhood.
“Harry is played in the movie by Danny Glover, who usually plays the most pleasant of men; he is the easy-going member of the team in the “Lethal Weapon” movies. Here his very pleasantness makes him more sinister. His good manners turn oily, somehow, and the others begin to clear a space around him, physically and in conversation. Glover is an actor of considerable presence, and here he lets us know his character is from hell, and hardly has to raise his voice.” — Roger Ebert
Tickets are $6 and available at link above. Students use code STUDENT at checkout for free admission (must show student ID at the door).

SUNDAYS AT THE U WITH MOVIES: "LA LA LAND" (2016) FREE SCREENING
2025-07-20 13:00 - 15:00
REGISTER FOR FREE TICKETS HERE
Join us at 1 p.m. Sunday, July 20 at 1 p.m. to celebrate the installation of our new giant movie screen and curtains with a free screening of Damien Chazelle’s Oscar-winning musical “La La Land,” starring Ryan Gosling and Emma Stone.
Admission is FREE but registration required at link above.
When the pianist Sebastian (Gosling) and the actress Mia (Stone) follow their passion and achieve success in their respective fields, they find themselves torn between their love for each other and their careers.

“Gosling and Stone embrace the limitations of their song-and-dance abilities instead of trying to disguise them. They elevate “La La Land” into something much more substantial than a tribute to escapism. They give this big, generous movie its soul, and their relationship is so simply rendered and touching that “La La Land,” for all its cotton-candy artifice, rings truer and more honest than most contemporary Hollywood studio pictures.
“Here is a celebration of the artistic drive that is also a daring feat of showmanship, as technically accomplished in its own way as “Mad Max Fury Road” or “The Revenant.” But its vibe is the opposite of mechanical. During one musical number, when fireworks start going off in the sky, you can feel them going off in your head too.” — Rene Rodriguez, The Miami Herald
Admission is FREE but registration required at link above.

SUNDAYS AT THE U WITH MOVIES: "NETWORK" (1976)
2025-07-27 13:00 - 15:00
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Join us at 1 p.m. Sunday, July 27th, for director Sidney Lumet’s Oscar-winning “Network,” a merciless — and timely — satire of the machinations inside the news department of a major TV network.
NETWORK | 1976 | DIRECTOR: Sidney Lumet | WITH: Faye Dunaway, William Holden, Peter Firth, Beatrice Straight, Robert Duvall, Ned Beatty | RATED R for vulgar language, sexual situations, strong adult themes | RUNNING TIME: 2H 1M
A television network cynically exploits a deranged former anchor’s ravings and revelations about mass media for its own profit, but finds that his message may be difficult to control.

“The movie caused a sensation in 1976. It was nominated for 10 Oscars, won four (Finch, Dunaway, supporting actress Beatrice Straight, screenwriter Paddy Chayefsky), and stirred up much debate about the decaying values of television. Seen a quarter-century later, it is like prophecy. When Chayefsky created Howard Beale, could he have imagined Jerry Springer, Howard Stern and the World Wrestling Federation?
“One of Chayefsky’s key insights is that the bosses don’t much care what you say on TV, as long as you don’t threaten their profits. Howard Beale calls for outrage, he advises viewers to turn off their sets, his fans chant about how fed up they are–but he only gets in trouble when he reveals plans to sell the network’s parent company to Saudi Arabians.
“There’s a parallel here with “The Insider,” a 1999 film about CBS News, where “60 Minutes” can do just about anything it wants to, except materially threaten CBS profits.” — Roger Ebert
Tickets are $6 and available at link above. Students use code STUDENT at checkout for free admission (must show student ID at the door).

SUNDAYS AT THE U WITH MOVIES: "JOHNNY GUITAR" (1954)
2025-08-03 13:00 - 15:00
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Join us at 1 p.m. Sunday, Aug. 3, for a screening of “Johnny Guitar,” director Nicholas Ray’s 1954 landmark western starring Joan Crawford as a strong-willed female saloon owner who is wrongly suspected of murder and bank robbery after helping a wounded gang member.
JOHNNY GUITAR | 1954 | DIRECTOR: Nicholas Ray | WITH: Joan Crawford, Sterling Hayden, Mercedes McCambridge, Ernest Borgnine, John Carradine | RUNNING TIME: 1H 50M | UNRATED Contains mild violence
“The Western is the prime political genre, and Nicholas Ray’s “Johnny Guitar” is one of the greatest Westerns, but its political ideas are hardly the source of its enduring—and controversial—power. What makes the movie is the performances by its lead actors, Joan Crawford and Sterling Hayden, which are different in kind from any others that I’ve seen, including by those actors elsewhere.
“Performances are always connected to direction, but the ones in “Johnny Guitar” appear even more so—in terms of the composition of images, the positioning of actors relative to one another and to the décor, and, above all, the movie’s general tone—than literally any Hollywood movie I know, including such epochally inventive ones as “Citizen Kane” and “Vertigo.” Without any intellectual palaver, metafictional games, or reflexive winks, “Johnny Guitar” is a theory of cinema in motion.

“Even in the studio world of seductive artifice, “Johnny Guitar” stands out; it achieves an unmatched height of stylized behavior. The film is a sort of cinematic opera in which scenes have the force of arias, in which dialogue less advances the action than it adorns the movie like bruising and vulnerable lyric poetry, in which the framing of actors forms a unique visual music—even unique in the career of its director, Nicholas Ray, who made many enduring classics (such as “In a Lonely Place” and “Rebel Without a Cause”) but nowhere else reached the singular intensity and stylistic purity of “Johnny Guitar.”
“It’s among the very heights of what the Hollywood system, for all its distortions and exclusions, was capable of—and, even more important, it represents the furthest extreme that the star system could produce or allow.” — Richard Brody, New Yorker
Tickets are $6 and available at link above. Students use code STUDENT at checkout for free admission (must show student ID at the door).

SUNDAYS AT THE U WITH MOVIES: "GOOD MORNING" (1959)
2025-08-17 13:00 - 15:00
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Join us at 1 p.m. Sunday, Aug. 17 for director Yajusiro Ozu’s endearing “Good Morning” (1959), a lighthearted take on the filmmaker’s perennial theme of the challenges of intergenerational relationships.
The movie tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists.
Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic “I Was Born, But . . .” to gently satirize consumerism in postwar Japan.
The film will be projected in 2K digital format.

“From its very opening, Good Morning (1959) is deeply and delightfully musical, both in the orchestration of static visual elements in its first two shots and in its rhythmic patterns of human movement, as various figures cross the pathways between houses, between houses and hill, and on top of the hill itself—always, mysteriously, moving from right to left. And what could be more musical than the opening gag, occurring on the same sunny hilltop, of little boys farting for their own amusement, still another form of theme and variations?
“Good Morning has its own ways of ironically comparing children and grown-ups, such as juxtaposing timid small talk between a youthful couple waiting for a train with the schoolboys’ farting game. (There is also an implicit comparison in the depiction of the adults’ childish envy when one household purchases a TV set and another a new washing machine.) Movie posters for Stanley Kramer’s The Defiant Ones and Louis Malle’s The Lovers, combined with various glimpses of sumo wrestlers on TV, allude not only to the recalcitrant sons but also to a sense of antagonistic parties chained together by circumstance that often seems to function just below the surface of the everyday pleasantries.
“A grandmother muttering gripes between her prayers, the drunken Tomizawa coming home to the wrong house, the young scat-singing couple being quietly hounded out of the community, a thoughtful Keitaro wondering if television will “produce 100 million idiots”—all these moments are characteristically uninflected, and each goes straight to the heart of the film.” — Jonathan Rosenbaum
Tickets are $6 and available at the link above. Students use code STUDENT at checkout for free admission (must show student ID at the door).

"MICKEY 17" (2025) FREE SCREENING
2025-08-20 21:00 - 23:00, 2025-08-23 20:00 - 22:00
The University of Miami’s Cinematic Arts Commission invites you to a free screening of “Mickey 17” (2025) on Wednesday, Aug. 20th at 9 p.m. and Saturday, Aug. 23rd at 8 p.m.
During a human expedition to colonize space, Mickey 17, a so-called “expendable” employee, is sent to explore an ice planet.
Admission is FREE and no tickets required!

SUNDAYS AT THE U WITH MOVIES: "DAY FOR NIGHT" (1973)
2025-08-24 13:00 - 15:00
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Join us at 1 p.m. Sunday, Aug. 24th, for a rare theatrical screening of 1973’s “Day for Night,” director Francois Truffaut love letter to movies and the people who make them.
Truffaut himself appears as the harried director of a frivolous melodrama, the shooting of which is plagued by the whims of a neurotic actor (Jean-Pierre Léaud), an aging but still forceful Italian diva (Valentina Cortese), and a British ingenue haunted by personal scandal (Jacqueline Bisset). An irreverent paean to the prosaic craft of cinema as well as a delightful human comedy about the pitfalls of sex and romance, “Day for Night” is buoyed by robust performances and a sparkling score by the legendary Georges Delerue.

“Probably no story since “The 400 Blows” had excited Truffaut as much as “Day for Night.” After all, it’s a film about filmmaking from a celebrated film lover; it’s hard to see how the subject could have failed to energize him. But somehow, despite our high expectations, the movie still manages to surprise us with how good it is—it’s magical, in fact. Nothing in it feels like the product of meticulous design, even as the craft behind the simplest moments of a feature film is exposed. Depicting the shoot, from first day to last, of a movie called “Meet Pamela,” “Day for Night” seems effortless, as if this was the movie Truffaut had been preparing for all his life.
“It’s hard to believe that the movie’s structure had never been used before, but I don’t think it had. In many ways, “Day for Night” plays as a mockumentary, an impression strengthened by Truffaut’s appearance as the director, Ferrand, and Truffaut’s frequent star Jean-Pierre Léaud’s as Alphonse. The third team member playing himself is composer Georges Delerue, who is heard only over the phone but is referred to by his full name.
“Making movies can be a way for a movie lover to live inside movies. And once in a while, such a filmmaker might create something so beautiful the audience will want to climb inside too.” — David Cairns
Tickets are $6 and available at the link above. Students use code STUDENT for free admission (must show student ID at the door).

"ONE OF THEM DAYS" (2025) FREE SCREENING
2025-08-27 21:00 - 23:00, 2025-08-30 20:00 - 22:00
The University of Miami’s Cinematic Arts Commission invites you to a free screening of “One Of Them Days” (2025) on Wednesday, Aug. 27th at 9 p.m. and Saturday, Aug. 30th at 8 p.m.
When best friends and roommates Dreux and Alyssa discover Alyssa’s boyfriend has blown their rent money, the duo finds themselves going to extremes in a race against the clock to avoid eviction and keep their friendship intact.
Admission is FREE and no tickets required!

"SINNERS" (2025) FREE SCREENING
2025-09-03 21:00 - 23:30, 2025-09-06 20:00 - 22:30
The University of Miami’s Cinematic Arts Commission invites you to a free screening of “Sinners” (2025) on Wednesday, Sept. 3rd at 9 p.m. and Saturday, Sept. 6th at 8 p.m.
Trying to leave their troubled lives behind, twin brothers return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back.
Admission is FREE and no tickets required!

SUNDAYS AT THE U WITH MOVIES: "PARIS, TEXAS" (1984)
2025-09-07 13:00 - 15:30
BUY TICKETS HERE
Join us at 1 p.m. Sunday, Sept. 7, for New German Cinema pioneer Wim Wenders’ 1984 drama “Paris, Texas.” Wenders brings his keen eye for landscape to the American Southwest in this story of a mysterious, nearly mute drifter Travis (a magnificent Harry Dean Stanton) as he tries to reconnect with his young son, living with his brother (Dean Stockwell) in Los Angeles, and his missing wife (Nastassja Kinski).
From this simple setup, Wenders and Pulitzer Prize-winning playwright Sam Shepard, who co-wrote the screenplay, produce a powerful statement on codes of masculinity and the myth of the American family, as well as an exquisite visual exploration of a vast, crumbling world of canyons and neon.
PARIS, TEXAS | 1984 | DIRECTOR: Wim Wenders | WITH: Harry Dean Stanton, Nastassja Kinski, Dean Stockwell | RATED R for sexual content, brief profanity | RUNNING TIME: 2H 25M | 4K RESTORATION

“The man comes walking out of the desert like a Biblical figure, a penitent who has renounced the world. He wears jeans and a baseball cap, the universal costume of America, but the scraggly beard, the deep eye sockets and the tireless lope of his walk tell a story of wandering in the wilderness. What is he looking for? Does he remember?
“Wim Wenders’ “Paris, Texas” (1984) is the story of loss upon loss. This man, whose name is Travis, was once married and had a little boy. Then that all went wrong, and he lost his wife and child, and for years he wandered. Now he will find his family and lose it again, this time not through madness but through sacrifice. He will give them up out of his love for them.
“Wenders uses the materials of realism but this is a fable, as much as his great “Wings of Desire.” It’s about archetypal longings, set in American myth. The name Travis reminds us of Travis McGee, the private investigator who rescued lost souls and sometimes fell in love with them but always ended up alone on his boat.
“The Texas setting evokes thoughts of the Western, but this movie is not for the desert and against the city; it is about a journey which leads from one to the other and ends in a form of happiness.” — Roger Ebert
Tickets are $6 (including service charge) and are available at the link above. Students use code STUDENT at checkout for free admission (must show Cane card at the door).

"DOWNTON ABBEY: THE GRAND FINALE" FREE ADVANCE SCREENING
2025-09-08 19:30 - 22:00
REGISTER FOR FREE TICKETS HERE
You are invited to join us at 7:30 p.m. Monday, Sept. 8th, for a free early screening of “Downton Abbey: The Grand Finale,” the final installment of the beloved British historical drama TV series set in the early 20th century, created and co-written by Julian Fellowes.
PLEASE NOTE: Admission is free and we are expecting a full house, so please arrive early. Ticket does not guarantee seating. Admission is first-come, first-served. Ticketholder line opens at 6:30 P.M.
Click on the link above to register for tickets.

"A MINECRAFT MOVIE" (2025) FREE SCREENING
2025-09-10 21:00 - 23:00, 2025-09-13 20:00 - 22:00
The University of Miami’s Cinematic Arts Commission invites you to a free screening of “A Minecraft Movie” (2025) on Wednesday, Sept. 10th at 9 p.m. and Saturday, Sept. 13th at 8 p.m.
Four misfits are suddenly pulled through a mysterious portal into a bizarre cubic wonderland that thrives on imagination. To get back home they’ll have to master this world while embarking on a quest with an unexpected expert crafter.
Admission is FREE and no tickets required!
