What She Said: The Art of Pauline Kael
Available through Thursday, May 7.
- Ticket price: $12 for unlimited viewing through Thursday, April 30.
- How to watch: Available to watch through the internet browser on your computer, phone, or tablet.
During our temporary closure, we're excited to bring you opportunities to watch new release titles on your home screen while directly supporting Amherst Cinema. When you watch these Virtual Cinema films at home, the cost of the digital "ticket" is split between the film distributor and Amherst Cinema—just like with a ticket purchased at our box office.
“The most powerful, loved, and hated film critic of her time.”–Roger Ebert on Pauline Kael (1919-2001).
In a field that has historically embraced few women film critics, Pauline Kael was charismatic, controversial, witty, and discerning. Her decades-long berth at The New Yorker energized her fans (“Paulettes”) and infuriated her detractors on a weekly basis.
Her turbo-charged prose famously championed the New Hollywood Cinema of the late 1960s and ‘70s (BONNIE AND CLYDE, NASHVILLE, CARRIE, TAXI DRIVER) and the work of major European directors (François Truffaut, Bernardo Bertolucci), while mercilessly panning some of the biggest studio hits (THE SOUND OF MUSIC, MIDNIGHT COWBOY, DIRTY HARRY).
Her creepy battle with Andrew Sarris and his auteur theory was legendary, and her stint in Hollywood, trying her hand at producing, was a disaster.
Sarah Jessica Parker reads from Kael’s reviews; filmmakers Quentin Tarantino, Paul Schrader, and Francis Ford Coppola and critics Camille Paglia, Molly Haskell, Greil Marcus, and David Edelstein speak to her enormous gifts and influence.