27th Sidewalk Fest Announces Full Schedule, Including Opening Night Film “Stolen Kingdom”

The schedule for the 27th Annual Sidewalk Film Festival presented by Regions Bank (Aug. 18 – 24) has been announced, including the much-anticipated reveal of our Opening Night film, Stolen Kingdom, sponsored by Gilead Sciences. The documentary delves into the history of mischief, scandal, and theft at Walt Disney World. It culminates in the theft of Buzzy, an animatronic valued at nearly half a million dollars. The film is directed by Joshua Bailey who will be in attendance and will participate in a post-film Q+A. Opening Night will kick off at 5pm on Friday, August 22, with a block party on 3rd Ave. N. It will be followed by the film screening at the Alabama Theatre at 7pm, and the evening will conclude with the traditional after party on 3rd Ave N.

The schedule also highlights two other important documentaries in the lineup: Sidewalk’s Saturday Night Spotlight Film, Salão de Baile (This Is Ballroom) (Aug. 23, 5:30pm, Alabama Theatre) and The White House Effect: Inside George H.W. Bush’s White House (Aug. 24, 7pm, Alabama Theatre). Salão de Baile is an upbeat tribute to the Brazilian ballroom scene where LGBTQ+ and non-white people carve out a creative space they might otherwise be denied. The White House Effect is an archival documentary that describes when President George H.W. Bush, who once ran as an environmental candidate, faced an existential dilemma about climate change that reshaped our planet’s future.

In addition to these three documentaries, the lineup includes over 250 other films including narratives, animated film, music videos, episodic videos, and even more documentaries. Sidewalk is proud to announce that over 20% of its lineup is Alabama-related film and nearly 40% of its lineup has a female director or co-director. Sidewalk is also pleased to welcome back alumni with over a quarter of its lineup coming from returning filmmakers.


See the full lineup at sidewalkfest.com/sched. Premium Single Tickets are now on sale. Day, Weekend, and VIP Passes are also available at sidewalkfest.com/tix.

The 27th Annual Sidewalk Film Festival presented by Regions takes place August 18 – 24, 2025 in Downtown Birmingham’s Historic Theatre District.

Sidewalk Film Festival Saturday Night Spotlight + Closing Night Titles Announced!

The 27th Annual Sidewalk Film Festival presented by Regions Bank is quickly approaching and our Programmers are proud to announce our Saturday Night Spotlight Film, This Is Ballroom, as well as our Closing Night Film, The White House Effect. Both of these titles offer compelling examinations of life in the 21st century and illustrate how coming together for the sake of humankind is more important than ever before. Check out a quick synopsis for each film below. 

Day Passes for the 27th Sidewalk Film Festival go on sale TODAY!

VIP + Weekend Passes are also available. Get yours today before prices increase on August 1!


Saturday Night Spotlight Film

This Is Ballroom   

Directed by Juru & Vitã • 1 hour 30 minutes • Brazil

An upbeat tribute to the Brazilian ballroom scene where LGBTQ+ and non-white people create the creative space they are not allowed in a repressive society.


Closing Night Film

The White House Effect

Directed by Bonni Cohen, Pedro Kos, Jon Shenk • 1 hour 34 minutes • USA

Inside George H. W. Bush’s White House, scientists drop the bomb that climate change is real. Chaos ensues. Staff clash, lobbyists scramble, and Bush, who once ran as an environmental candidate, faces an existential decision that reshaped our planet’s future. Told entirely through archival footage, this film is riveting, urgent, and surprisingly cinematic.


These titles (plus the titles announced in May and June) are a preview of what’s in store for the 27th Annual Sidewalk Film Festival presented by Regions Bank, August 18 – 24 in Downtown Birmingham’s Historical Theatre District. Screening dates/times tbd.

Get VIP, Weekend, and Day Passes now at sidewalkfest.com/tix.

Stanley Kubrick Filmmaker Focus w/ Gareth Jones

Film Scholar and Sleep In Cinema Co-Host Gareth Jones

It has been 26 years since Stanley Kubrick died on March 9, 1999.  He never got to see the year 2001, sadly. I would have loved to see him interviewed about that year and where humanity was at that time. However, because of the influence of his thirteen feature films, he still feels alive in the same way as all great artists. No matter how many times I view his films, I always make new discoveries and observations. This is partially due to aging with the films, and my own unique perspective changing with my own life experiences, such as having children, or seeing history consistently repeating itself, but it is also due to the immense depth of his artistic creation.  Kubrick’s films are too much for only one viewing.  

Cinematic giant Stanley Kubrick

As a film professor, I am also constantly aware of his influence as a filmmaker.  Other than Orson Welles, a strong argument can be made that he is the most influential film artist in cinematic history.  Like Citizen Kane, you can draw a line before and after the Kubrick effect.  From his groundbreaking use of the Stedicam to the unnerving repetition of the “Kubrick Stare”, you know instantly that you are watching a film by Stanley Kubrick.  His distinctive style and approach to filmmaking challenged the Hollywood structure in the 1950s and he continued to push cinematic boundaries until his final film in 1999.  He had several unfinished projects at the time.  Watching filmmakers like Clint Eastwood, Martin Scorsese, and others work into their eighties and beyond, leaves us wondering what visions we missed. 

Kubrick’s films demand to be seen on the big screen with the best possible sound.  He made films at a gigantic scale.  You should be overwhelmed by the spectacle and shocked by the imagery. Marvelling at his mastery of finding the perfect music to accompany an image.  I encourage everyone to take the opportunity to see his films as they were meant to be seen.  You will gain a greater appreciation for them and his artistic vision.  To me, they are as fresh and vibrant as the day they were first released.  Take this opportunity to support your only local independent cinema in Birmingham, and make sure to use the bathroom when you are there to complete the Kubrick experience.

– Gareth Jones, Film Scholar at UAB and Co-Host of Substrate Radio‘s Sleep In Cinema


Gareth Jones will be introducing the Thursday, June 19th 7:00pm screening of Sidewalk Film 101: 2001: A Space Odyssey and will be giving a Barry Lyndon and Stanley Kubrick: Reel Talk Conversation after the Sunday, June 22nd 4:00pm screening of Barry Lyndon.

Tickets for all titles available at sidewalkfest.com/tickets.

New SHOUT & Black Lens Films Added to the Sidewalk Film Festival Lineup

The programming team is proud to bring you an additional six titles for the 27th Sidewalk Film Festival presented by Regions Bank (August 18 – 24)! These films are just a taste of our specialty programming that highlights our Black Lens and SHOUT tracks for this year’s festival! 

Haven’t gotten your VIP or Weekend Passes to the Fest? Prices just increased today and will increase again on July 1 – get yours today before prices go up!

Every year, we screen thousands of movies to bring the best in independent cinema to the Sidewalk Film Festival. Read on to learn more about these six highlighted films:


SHOUT:

Fucktoys (Narrative Feature)

Directed by Annapurna Sriram • 1 hour 46 minutes • USA

Fucktoys is a lush, 16mm fever dream that reimagines the Major Arcana of the Tarot through the story of AP: a struggling pollyanna seeking salvation from a curse. AP is promised by not one but multiple psychics that for a cool $1000 -and the sacrifice of a baby lamb- it can be lifted. So she makes money the only way she knows how: scootering her way deeper into the night, and into the uncouth underbelly of Trashtown.


Two People Exchanging Saliva (Narrative Short)

Directed by Alexandre Singh and Natalie Musteata • 35:00 • France

In a repressive society where kissing is punishable by death, two women make a forbidden connection.


Order for Ben (Narrative Short)

Directed by Kristina Arjona, Adam Plant • 12:16 • USA

Ben, a trans man leading a full and happy life, agrees to meet his father for coffee after 7 years of estrangement.

 


Black Lens:

It Comes in Waves (Narrative Feature)

Directed by Fitch Jean • 1 hour 45 minutes • Canada

A family of four escapes the genocide in Rwanda and lands in Ottawa. They quickly learn that the grass is not always greener on the other side.


The Last Dance (Narrative Short)

Directed by Hayden Mclean • 16:39 • United Kingdom

A compulsory purchase order threatens a Caribbean family’s life in East London. In defiance and longing, a last dance ignites as renters’ rights take center stage.


Her Fight, His Name: The Story of Gwen Carr and Eric Garner (Documentary Short)

Directed by Brad Bailey • 30:00 • USA

Gwen Carr, the mother of Eric Garner, channels her grief into a years’ long fight for justice that draws international attention so that his name isn’t forgotten.


These six titles (plus our previously announced Spotlight Shorts and Features) are a preview of what’s in store for the 27th Annual Sidewalk Film Festival, happening from August 18 – 24. Screening dates/times tbd.

Get VIP or Weekend Passes now at sidewalkfest.com/tix.

Our SHOUT screenings are sponsored by Birmingham AIDS Outreach.

Summer Blockbuster Staff Picks May 16 – 22

We’re starting summer off in a BIG way…by playing some of the Sidewalk staff’s favorite blockbusters on the BIG SCREEN as they were meant to be seen!

We asked our staff members to compile their summertime favorites and narrowed them down by decade. Read below on what they had to say about their picks and beat the heat by seeing a summer blockbuster at Sidewalk this weekend, May 16 – 22!


1970s: ALIEN (1979)

Alien is one of my favorite Summer movies of all time. I love the practical special effects, the cast of characters with believable flaws, and a strong female lead. Alien was a new take on monster movies with a healthy dose of Sci-Fi and horror mixed in. The cold dreadful atmosphere of space is a perfect companion to warmer weather.”

– Front of House Associate Violet Gein


1980s: RAIDERS OF THE LOST ARK (1981)

This selection coincides with our Sidewalk Film 101 series, which is a program focused on playing films that are historically important and influential. This year is dedicated to big-screen spectacles – movies that you must see on the big screen. Along with supplemental readings and resources to contextualize each featured film, Thursday evening screenings will include a special introduction.


1990s: TERMINATOR 2: JUDGMENT DAY (1991)

“This is a sequel that goes beyond the original in all the best ways, giving itself an identity of its own while still respecting what came before it. Any time I’m seeing a James Cameron film, I know that it’s going to be a spectacle to remember. Not only is Terminator 2 massively entertaining for its spectacularly designed sci-fi action, but it also manages to tell a great story that gives this popcorn flick a real soul. In a time where we’re flooded with countless sequels and reboots, it’s nice to know there are some sequels who got it right and show what a sequel should be. The Terminator and company came back in style and didn’t disappoint!”

– Projectionist Nick Ferlisi


2000s: I AM LEGEND (2007)

“I remember watching Fracis Lawrence’s I Am Legend in a theater at the age of 11 and being completely obsessed with everything the film had to offer. From the Will Smith one-man-show to the bleak landscape of a post-apocalyptic America as a result of a deadly virus. I Am Legend has always been one of those films that stays with me due to the emotional bond between Dr. Robert Neville and his puppy (Sam) and those poignant words: ‘If there’s anybody out there… anybody… please. You are not alone.'”

– Programming Manager Allan Monterrubio


2010s: CRAZY RICH ASIANS (2018)

“I chose Crazy Rich Asians because of how beautiful it is both plot and picture wise. It shows how complicated family and love can be. The balance between funny and serious was perfectly executed.”

– Front of House Associate Jasmine Schultz


2020s: NOPE (2022)

“Catch me on the right day, as a friend did a few weeks back, and I might tell you that Nope is Jordan Peele’s best movie. It’s certainly his most ambitious — a cross between Spielbergian science fiction, Tremors-style creature feature, and Hollywood satire, crammed with so many ideas you need a few viewings to unpack them all. Not that seeing Nope many times is any great imposition. For me, this is one of the most rewatchable movies of the decade so far, a wildly entertaining blockbuster thrill ride made by a great director at the top of his game. And it’s designed to be seen on the big screen; that way, you can appreciate the astounding technical achievement of all that nighttime photography, get the full effect of the terrifying sound design, and see it with a freaked-out audience having the cinematic time of their lives.”

– Cinema Programming Coordinator Corey Craft


You can find showtimes and tickets to these great summer blockbusters at sidewalkfest.com/tickets.

27th Annual Sidewalk Fest Passes On Sale + Fest Spotlight Night Titles Announced

VIP + Weekend Passes for the 27th Annual Sidewalk Film Festival presented by Regions Bank (August 18 – 24) are NOW ON SALE! Get yours at the lowest price of the year before prices increase June 1. Full ticketing info can be found below.

The Sidewalk Film Festival programming team is also pleased to announce 31 films included in the Festival lineup, expanding our Spotlight Night offerings from a single film each evening to two blocks of films for your enjoyment! Join us each evening for a themed night starting with a Happy Hour at 5:00pm, followed by 2 blocks of films.

For the 6:00pm block, our programming team has selected a range of short films that encapsulate the evening’s theme. These 27 films include animated, narrative, and documentary films from Alabama filmmakers, as well as filmmakers from across the country and around the globe. (See below for short film list and synopses.)

Stay for a feature-length film each evening at 8:00, starting with Forward, Ever on Monday for our Alabama Spotlight Night, followed by Baby Doe for our Life + Liberty Spotlight Night on Tuesday. Don’t miss Love Me Bait Me: The Power of Queer Representation on Wednesday for our SHOUT Spotlight Night and Paint Me A Road Out of Here on Thursday for our Black Lens Spotlight Night!


Alabama Film Spotlight Night (August 18)

 

Shorts Block:

What If? Directed by Emma Bradley Bothwell • 1:59 • USA • Cassidy learns that nervousness is a two-way street as she tries to speak to her crush.

The Wilhelm Scream Directed by Anna Quinlan • 11:50 • USA • The Wilhelm Scream has made an appearance in hundreds of films, TV shows, video games, and commercials over the past 70 years. Now discover the story behind the most infamous joke in cinema history.

Fail Year Directed by Beau Shepherd, Apollo Shepherd • 2:17 • USA • After moving to a city, we watch as a man proceeds to have the worst year of his life. Perhaps the new year will kick off on a higher note.

It Draws Closer Directed by Joshua David Matthews • 4:30 • USA • A young woman discovers the creature she just sketched is in the bedroom with her.

Next Show in 90 Minutes Directed by John T. Hill • 7:20 • USA • A routine both natural and unnatural unfolds in the heart of one of America’s most cherished landscapes. Content Warning: This film contains mild body horror and brief violence.

b[Reach] Directed by Rachel Hendrix • 10:45 • USA • A mother struggling with postpartum intrusive thoughts confronts her mental state in a desperate phone call.

A Place to Be Fed Directed by Billy Ivey • 19:46 • USA • James Harris strives to create a self-sustaining and replicable place of hope, healing, and restoration for food desert communities. The film shines a light on our universal need for healthy food and a place to call our own.

Neither Donkey Nor Horse Directed by Robin Wang • 28:29 • USA • Amidst the outbreak of the 1910 Manchurian Plague, a young Chinese doctor must defy prejudices of both the East and the West to champion his groundbreaking theory of the disease and seek the truth that will heal it.

Feature Film:

Forward, Ever Directed by Jason Sciavicco • 1 hour 47 minutes • USA

“For the Love of the Game” is a phrase that is thrown around easily, but for the players on the Birmingham-Southern College baseball team it’s a lifestyle. Far from the money driven world of big-time college athletics and NIL contracts, these are true student athletes that are chasing a dream without scholarships or the perks that come with playing for a major program.  Following years of financial difficulty post-Covid and a rollercoaster ride dealing with the state legislature to secure funding, Birmingham-Southern College is out of options and is forced to announce they are closing down. Despite the crushing news and now facing uncertain futures, the BSC Panthers respond with an improbable winning streak that secures a spot in the postseason and lifts the spirit of the BSC faithful. The eclectic collection of players and their inspirational coach are pursuing a legendary playoff run that continues after the demise of the school they play for.


Life + Liberty Spotlight Night (August 19)

 

Shorts Block:

The Library Problem Directed by Mell Packard • 5:27 • USA • A short student documentary examining the history and current status of the ongoing battle taking place over LGBTQ+ content in the children’s section of Alabama public libraries.

Failure to Fail Directed by Haley Breese • 20:17 • USA • Delve into the troubling phenomenon of grade inflation in the United States education system. Through the stories of three dedicated teachers, we explore the systemic flaws that push unprepared students through the educational pipeline and consider critical questions about the true value of academic achievements.

The Third Child Directed by Serna Amini • 25:11 • Iran • Mehdi is the only hearing child in a completely deaf family. Now, he is striving to become a professional voice actor and dubbing artist on his new path while navigating the challenges of his family’s circumstance.

The Congress Directed by Eko Krisna • 10:58 • Indonesia • Indonesian activist Rukka Sombolinggi believes the key to confronting climate crisis is to unite and mobilize the Indigenous communities who are often impacted the most. Now, as the first female general secretary of the world’s largest Indigenous Peoples organization, she has the power to do just that.

Exodus Directed by Bob Miller • 24:51 • USA • Meet Musa and Emmanuel, two unlikely heroes, as they facilitate the evacuation of their fellow Sudanese from cities torn by decades of war into the remote Nuba Mountains in Sudan.

Feature Film:

Baby Doe Directed by Jessica Earnshaw • 1 hour 40 minutes • USA

At 22, Gail gave birth alone and left her newborn in the woods. Decades later, she’s arrested for murder, even though she says the baby was stillborn. BABY DOE explores the fallout when young women cannot accept the reality of an unplanned pregnancy.


SHOUT Spotlight Night (August 20)

 

Shorts Block:

Once Upon a Wetland Directed by Elizabeth Miller-Derstine • 16:00 • USA • As restrictions to drag grow stricter across the country, Durham, North Carolina lets its fur down for the annual Beaver Queen Pageant — a wildly campy, dam-important celebration of queer joy, eco-love, and over-the-top critter cosplay.

Solemates Directed by James Rathbone and Mike Feswick • 12:00 • Canada • The story of a love triangle between a shoe store owner, a customer, and an old pair of shoes.

F*ck That Guy! Directed by Hanna Gray Organshi • 17:33 • USA • 1992 Connecticut. Desperate to keep the attention of her intoxicating older best friend, Frankie sets out to prove that sex is no big deal.

She Raised Me Directed by Ben Lewis • 13:26  • Canada & USA • When a struggling writer discovers he’s dating the son of his favorite actress, he’ll do anything to make (and keep) a meaningful connection.

Hearts of Stone Directed by Tom van Avermaet • 29:55 • Belgium • An unexpected connection between Paula, a lonely street artist, and the mysterious sculpture that inspires her unfolds in this fantastical tale of love, loss, and rediscovery.

Feature Film:

Love Me Bait Me: The Power of Queer Representation Directed by Rachel van der Bie • 1 hour 19 minutes • USA

This feature documentary explores the historical relationship between Hollywood, television, and the authentic portrayal of diverse LGBTQ+ experiences over the course of more than a century. Interviews and archival footage provide a critique of the U.S. film industry that emphasizes the life-saving role storytelling plays in our collective imagination for a better future.


Black Lens Spotlight Night (August 21)

 

Shorts Block:

UNCAGED Directed by Jay Richardson • 5:19 • USA • A young NIL student-athlete grapples with anxiety, identity, and survivor’s guilt as he navigates the hidden costs of success.

Vainglorious Directed by Oshiomati Gabriel Ugbodaga • 8:15 • USA • When a skilled young boxer and a determined father clash in a traditional Nigerian boxing match, their resilience and pride are put to the ultimate test.

Bloqué Directed by Miguel Ortiz • 6:39 • USA • A drummer with a creative block visually takes the audience down his own memories into the heart of his emotional blockage.

House of Modern Art Directed by Matthew Mugweru • 5:39 • USA • In “House of Modern Art,” an obsessive cult from diverse trades and backgrounds gathers to perform a grotesque ritual, constructing a distorted piece of artwork that serves as their idol of worship.

Heavy Is the Head Directed by Chap Edmonson • 9:24 • USA • An experimental exploration of identity as a young black man learns to navigate the world and the expectations that weigh upon him.

American Dignity Directed by Hanson Hosein • 19:59 • USA • Filmed during the first weeks of 2025, “American Dignity” captures a nation in flux. This short documentary is both a snapshot of a critical moment and a meditation on the enduring tension between progress and backlash.

Livestreams with GrandmaPuzzles Directed by Emily Sheskin • 6:00 • USA • A lifelong hobby becomes a lifeline for an unexpected Twitch streamer.

Voices of the Academy Directed by Latoria Hicks • 13:14 • USA • Three professors explore the history, significance, and ongoing challenges of African American Vernacular English in education and the United States and reflect on its cultural impact and the fight for linguistic acceptance.

Teddy Directed by Lauren Santucci • 15:55 • USA • Meet Timothy Gant, Jr., “Teddy,” a male birth doula working to improve birth outcomes for Black women in Houston, Texas. As a doula working predominantly with Black women, Timothy helps his clients achieve a positive, safe, and empowering birth on their terms.

Feature Film:

Paint Me A Road Out of Here Directed by Catherine Gund • 1 hour 30 minutes • USA

In 1971, underestimated artist Faith Ringgold made a monumental painting for the women incarcerated at Rikers Island jail. Fifty years later, artist Mary Enoch Elizabeth Baxter, who gave birth in prison 15 years ago, finds herself banding together with an eccentric bunch of activists, politicians, artists, corrections officers and Faith Ringgold to free the painting with the ultimate goal of freeing the women. Paint Me a Road Out of Here is a wild tale of the painting’s whitewashed journey and the two artists who challenge the same powerful, oppressive and persistent institutions, a half century apart with their artwork, their voices and their shared, persistent goals.


Ticketing Info

Each evening during festival week (Monday-Thursday) we will host themed Spotlight Nights, including:

  • Happy Hour from 5–7 PM at the bar (no ticket required)
  • Spotlight Shorts Block
  • Spotlight Feature Film 

?️ VIP Passholders:

VIP Passholders can add Spotlight Night Screenings for just $2 ONLY at the time of purchase. If you’d like to decide later, you can add Spotlight Nights for $8 each (normally $15) by emailing your request to our box office ([email protected]).

If you purchased a VIP Pass during our Early Bird Sale (Fall 2024), you will receive an email from our box office staff ([email protected]) about how to apply your VIP perks for Spotlight Nights. 

? Members Save 10%!
VIP Passes, Weekend Passes, and Spotlight Night Tickets are automatically discounted at checkout when you’re logged in to your member account. The member discount is not combinable with any other discount or offer.

To purchase passes and for additional information, visit sidewalkfest.com/tix.


We hope you’ll join us for the 27th Annual Sidewalk Film Festival presented by Regions Bank, August 18 – 24 in Downtown Birmingham!

For more info on the announced films, visit sidewalkfest.com/sched.

March Sidewalk Film 101: Pather Panchali (1955)

At the 2014 unite4:humanity Gala, Martin Scorsese received the Creative Conscience Award, recognizing him for his continued work in film preservation. During his acceptance speech, he made a point to connect his long-term efforts in film preservation to the work of Indian director Satyajit Ray. Scorsese offered these words near the conclusion of his speech: “As a kid, living in the lower east side, the first film I really saw about India was Pather Panchali by Satyajit Ray. And I realized it was a film by Indians, for Indians, [and ultimately] for the world. And it brought me to learn about the rest of the world.”

Pather Panchali (1955) is Ray’s first film, and the first of his famous Apu Trilogy, based on two Bengali novels written by Bibhutibhushan Bandopadhyay. Ray’s directorial debut would receive swift international acclaim when, at the 1956 Cannes Film Festival, Pather Panchali won the Best Human Document Award. But across time, praise for Ray’s masterpiece––as well as his at-large contributions to cinema––would only continue to mount. At the 1992 Academy Awards, Ray was presented with the Honorary Oscar for lifetime achievement in film. He was dying from heart and lung ailments, and his acceptance address was filmed from his hospital bed. Ray couldn’t even sit up to make his acceptance speech when Audrey Hepburn introduced him, citing the award for his “profound humanism” and “rare mastery” of the medium of film (Meher Tatna). He died less than one month later.

Due to a number of devastating complications, Ray’s Apu Trilogy was almost entirely lost to the world––saved only through a decades-long international preservation effort. And interestingly enough, the 1992 Academy Awards would serve as the catalyst for those efforts. The producers who put together the 1992 Oscars telecast had a lot of difficulty assembling the clip package. “The prints they found [of Ray’s films] were beat up, scratched, mangled, and missing sections,” explains Michael Pogorzelski, Director of the Academy Film Archive (An Act of Faith: Saving the Apu Trilogy). And just as people were beginning to commit themselves to preserving Ray’s masterpieces, there was a tragic fire at Henderson’s Film Lab in London. As a result, several vaults of film were totally destroyed or otherwise severely damaged––the original negatives of Ray’s Apu Trilogy among them. “But luckily,” explains Pogorzelski, “the Director of the Academy Film Archive asked for all of the film, and any even film cans related to Ray’s films to be shipped from London to Los Angeles.” Peter Becker, President of The Criterion Collection, celebrates these efforts as an act of faith. “Calling to have [the film] sent to the Academy to be preserved,” he says, “and not throwing it out despite the fact that it had been deemed ‘completely unusable’ is the kind of act of faith that says, ‘This film that passed through the camera, that those actors stood in front of, that the director caused to roll in the first place, and caused to cut––there’s something sacred about that. And it has to be preserved.’” (An Act of Faith: Saving the Apu Trilogy)

The film sat for 20 years before L’Immagine Ritrovata––a film restoration lab in Bologna––acted on their conviction that they could nondestructively get the film into a condition where it could be scanned and tested. This lab spent thousands of hours rehydrating the reels so that they could be safely unrolled, to then rebuild the perforations and clean the film. This then began 6-7 months of digital restoration work, made possible by The Criterion Collection. “Ray is known for his narratives, and is a very humanist filmmaker. But I think he’s underappreciated as a visual storyteller,” says Josef Linder, Preservation Officer of The Academy Archive. “We’ve preserved these films at their full visual quality––the full impact of the images, not just the stories.”

In 2015—60 years after Pather Panchali’s release––The Apu Trilogy was, at long last, re-released by Janus Films in a pristine 4K restoration, made available in a Criterion Blu-Ray set. This international effort at film preservation reflects the world’s love for Satyajit Ray’s singular contributions to cinema, the fruits of which will be experienced for generations to come. “To live without seeing the films of Satyajit Ray,” said Akira Kurosawa in 1975, “means existing in the world without seeing the sun or the moon.” Sidewalk is thrilled to offer two screenings of Ray’s masterpiece, Pather Panchali, on the evening of March 20th (“moon”) and the afternoon of March 23rd (“sun”). We hope you’ll join us in observance of this hard-fought masterpiece from a one-of-a-kind director.

– Education & Outreach Coordinator Peyton Chandler


Pather Panchali plays as a part of our Sidewalk Film 101 series March 20 at 7:00pm and March 23 at 1:00pm. You can get tickets here.

March Book + Film Club: Promising Young Woman

March’s Book + Film Club selection pairs The Value Gap: Female-Driven Films from Pitch to Premiere with Emerald Fennell’s Promising Young Woman as a part of our Women In Film celebration sponsored by WBHM and SouthState Bank. Courtney Brannon Donoghue is an Assistant Professor in the Department of Media Arts at University of North Texas. Her text, The Value Gap, dissects how female directors, producers, and writers navigate the challenges and barriers facing female-driven projects at each stage of filmmaking in contemporary Hollywood.

Using the foundational knowledge of how female-driven films are created in Hollywood we will watch Promising Young Woman, Emerald Fennell’s Oscar-winning film, and discuss the ideas expressed throughout the film. With the themes of sexual assault, female empowerment, complicity, perceptions, and the search for justice, this film explores how women are perceived in the world.

In an interview with The Guardian Fennell says, “There’s a need to politicize women’s work, to make it either a memoir or part of a movement. But the issues in this film have been going on for ever and I’ve been thinking about writing it for a long time. So I wanted to see if it was possible to make a very specific type of genre movie. It just so happened that this project is about something that we’re all familiar with, which can seem innocuous and mundane, but when you examine it in another way is incredibly sinister.” Star Carey Mulligan adds, “This is all very familiar stuff. We’ve all seen it in so many romantic comedies told from the guy’s perspective, who has to get the really hot girl really drunk to persuade her to have sex with him, because sober she wouldn’t go home with him. We’ve seen it in films and thought it was totally normal. Well, I did. I never thought: ‘Oh, that’s actually quite fucked up.’ I’ve always watched it and thought: ‘Yeah, that’s life, that’s what we all do.’ This film is saying: ‘Hang on, wait a minute.’”

Further Reading:

Women employ less than a quarter of key roles on film sets. These 5 women want to change that. | USA Today

Funding For Women In Film: New Study Peels Off Layers Of Inequity | Forbes

WIF Study Finds Women-Led Companies Receive Less Funding Than Male Counterparts | Variety

How Do We Define the Female Gaze in 2018? | Vulture 

The ‘female gaze’ is not a thing. Please don’t make it a thing | Honi Soit

‘It’s wild!’ Carey Mulligan and Emerald Fennell on making Oscars history | Promising Young Woman | The Guardian [Spoilers]

On the Disempowerment of Promising Young Woman | Features | Roger Ebert [Spoilers]  


Sidewalk’s Book + Film Club unites movie and book lovers for a monthly film screening and discussion about famous films and the people who make them. At the end of the month, we host a screening of a film related to the book and host a round-table discussion.

Seating is limited! Register today!

Registration Deadline to have books mailed to you: Friday March 7. Books will be mailed within 72 hours of this date.

Registration Deadline to have books picked up: Monday, March 17. Books can be picked up from our Box Office during our regular operating hours Thursday & Friday from 2pm til Close and on Saturday & Sunday from 10:30am until close. You will receive an email when your book is ready to be picked up.

The 97th Academy Awards Recap

“Long live independent films!” – Anora director, Sean Baker

The 97th Academy Awards took place last night in Los Angeles and Sidewalk’s Hollywood Awards Show Watch Party took place in Birmingham. Several of the nominees played at the Sidewalk Cinema during the previous year and while we didn’t have any Festival alum to root for (such as 2023’s Daniel Scheinert for Everything Everywhere All At Once and 2024’s Greta Gerwig for Barbie), there were still plenty of favorites competing for the gold.

Brady Corbet’s “monumental” achievement The Brutalist played at the Cinema January – February and was nominated for ten awards, taking home three: Best Cinematography for Lol Crawley, Best Music (Original Score) for Daniel Blumberg, and Best Actor for Adrien Brody.

Coralie Fargeat’s feminist body horror The Substance played last September and was nominated for five awards, taking home Best Makeup and Hairstyling for Pierre-Olivier Persin, Stéphanie Guillon, and Marilyne Scarselli.

Gints Zilbalodis’ animated adventure featuring no dialogue, Flow, played in December and garnered two nominations, winning Best Animated Feature Film.

Jesse Eisenberg’s dramedy A Real Pain played November – December and received two nominations, taking home Best Supporting Actor for Kieran Culkin.

As for Oscar Nominated Shorts (which are playing at the Cinema until March 6), Molly O’Brien and Lisa Remington’s The Only Girl in the Orchestra won for Best Documentary Short Film, Victoria Warmerdam and Trent’s I’m Not A Robot won Best Live Action Short Film, and Shirin Sohani and Hossein Molayemi’s In the Shadow of the Cypress won Best Animated Short Film.

You can get tickets to see all of the Oscar-nominated short films at the Sidewalk Cinema here.

The true winner of the night was Sean Baker for Anora, which played in November. Nominated for six awards, it took home five: Best Actress for Mikey Madison and Best Film Editing, Best Writing (Original Screenplay), Best Director, and Best Picture (along with Alex Coco and Samantha Quan) for Baker. It proved an historical night for the filmmaker, making him the first person in Academy Awards history to win four awards for the same film.

Other films that played at the Cinema that received nominations but unfortunately left empty-handed were Robert Eggers’ Nosferatu, the much-anticipated remake of one of cinema’s most classic and adored films that played December – January, which received four nominations.

Dreamworks’ most recent animated hit, Chris Sanders’ The Wild Robot, played September – October, received three nominations.

Sidewalk alum RaMell Ross’ poignant drama Nickel Boys played in February and received two nominations.

Aaron Schimberg’s psychological dark comedy A Different Man played in November and received one nomination.

Overall, and namely with the wins for Anora, it was a huge night for low-budget independent cinema as well as a push for the return and growth of movie theaters – both from the respective award-winning filmmaker and from host Conan O’Brien. With the latter’s skit CinemaStreams, he makes light of the current tradition of streaming movies at home or on a cellphone and introduces a newer and better method – watching them in a theater (what will they think of next!) 

As for his multiple turns on the awards stage, Sean Baker took time to highlight the need for the theatergoing experience: “Watching a film in a theater with an audience…it’s a communal experience you simply don’t get at home. And right now, the theater-going experience is under threat.” He continued, “Movie theaters, especially independently-owned theaters, are struggling, and it’s up to us to support them.” 

Now is the best time for you to support the Sidewalk Film Center + Cinema as our annual Membership Drive kicks off and lasts the entirety of March. For more information, visit sidewalkfest.com/membership.

 

February Sidewalk Film 101: Boyz N the Hood (1991)

John Singleton’s Boyz N the Hood was met with significant critical acclaim immediately following its release, nearly 35 years ago. The film released in 1991, and in 1992, Singleton became the youngest director and the first African American in cinema history to receive nomination for Best Director at the Academy Awards. Of far greater significance than its commercial reception, however, is this film’s staying power and striking cultural relevance. A powerful source of contemporary commentary on race in America, Boyz N the Hood doesn’t “feel” 35 years old. Reinforced by a number of social justice principles, the film highlights the socioeconomic challenges that ravaged low-income, Black communities during the 80s and early 90s. And for John Singleton, the undertaking of telling such a story was deeply, necessarily personal.

When he sold the script for Boyz N the Hood, John Singleton had only recently graduated from film school at USC. Very protective of his story (one which was directly influenced by his own childhood), he was determined to direct the film himself so as to preserve his own singular point-of-view. More specifically, in navigating the white-dominant film industry, Singleton was certain that Black stories demanded Black storytellers. “I went into film school with a certain focus,” Singleton told Spin Magazine in 1991. “I was going to make films about my people in a way that was never done before. I was going to be like a filmic soldier. I was going to learn the importance of subtext, of character, and of plot… I said over and over, ‘This is what I want.’ And it happened that way.”

As its recipients, we can celebrate the film’s capacity to “hold up” over the decades since its release. However, we can also lament the societal conditions which have contributed to the issues explored on screen remaining as “felt” and “present” as ever.

For further exploration prior to Sidewalk’s two screenings on February 20th and 23rd, we invite you to read “Boyz N the Hood and the Marginalization of Black Adolescent Males,” an article by Le Shorn S. Benjamin of Central Michigan University. Here, Benjamin discusses the many implications of various social issues on the Black adolescent males featured in the film, “and closes with hypothetical solutions for minimizing their marginalized experiences.” We hope that this, and the other selected readings, will further enhance your experience and appreciation for Boyz N the Hood.

– Education and Outreach Coordinator Peyton Chandler


Boyz N the Hood plays as a part of our Sidewalk Film 101 series February 20 at 7:00pm and February 23 at 1:00pm. You can get tickets here.