This Week at the Campus Theatre

Built in 1941, the Campus Theatre in downtown Lewisburg is an excellent example of art deco architecture. From its 16 foot murals to its etched glass doors, nearly all of the interior and exterior fixtures remain intact today. The theatre shows first-run, independent and classic films as well as specialized film festivals.

Find out what's showing this week at your Campus Theatre.

THIS WEEK AT THE CAMPUS THEATRE! THE BAD GUYS Friday, March 31 at 6:00pm Presented by CWC Kidz Christ Wesleyan Church Kidz will be screening the 2022 Dreamworks movie “The Bad Guys”. To avoid prison, a gang of notorious animal criminals pretends to seek being rehabilitated, only for their leader to realize that he genuinely wants to change his ways. This movie is rated PG. Water and popcorn will be provided to all attendees. You are also welcome to purchase additional snacks at the concession area. This is a free event. For more information, please contact 570-742-8987. EVERYTHING EVERYWHERE ALL AT ONCE Showtimes: Saturday, April 1 @ 5:00 pm (OPEN Caption sponsored by Geisinger) Saturday, April 1 @ 8:00 pm Sunday, April 2 @ 5:00 pm Thursday, April 6 @ 7:00 pm Synopsis A middle-aged Chinese immigrant is swept up into an insane adventure in which she alone can save existence by exploring other universes and connecting with the lives she could have led. Bucknell Film/Media Studies Films All films are free and open to the public Showtimes: CHIMES AT MIDNIGHT Monday, April 3 @ 7:00 pm AFTERSUN Tuesday, April 4 @ 7:00 pm THE GODFATHER Wednesday, April 5 @ 7:00 pm THE TRUE STORY OF JESSE JAMES Friday, April 7 @ 1:00 pm

MONDAY SERIES :

Monday, April 3 at 7pm
Chimes at Midnight

Orson Welles (France/Spain/Switzerland 1966) 113 min. DCP. With Orson Welles, Keith Baxter, John Gielgud, Jeanne Moreau.

Orson Welles’ extraordinary Chimes at Midnight was the culmination of the filmmaker’s lifelong obsession with Shakespeare’s ultimate rapscallion, Sir John Falstaff. Usually a comic supporting figure, Falstaff here becomes the focus: a robustly funny and ultimately tragic screen anti-hero played by Welles with looming, lumbering grace. Integrating elements from both Henry IV plays, as well as Richard II, Henry V and The Merry Wives of Windsor, Welles created a gritty and unorthodox Shakespeare film as a lament, he said, “for the death of Merrie England.” Poetic, philosophical, and visceral—with a kinetic centerpiece battle sequence that rivals anything in the director’s body of work—Chimes at Midnight is as monumental as the figure at its heart.

Monday, April 17 at 7pm

Fear aka La Paura

Directed by Roberto Rossellini (1954 Germay/Italy) 82 min. DCP. With Ingrid Bergman, Mathias Wieman, Kurt Kreuger.

The fifth and final of the Bergman-Rossellini features is in many ways the most painful, set in a territory (Germany) alien to them both, but drawing on personal issues that would soon lead to the end of their relationship. The devoted wife of a prominent scientist, Irene (Bergman) has managed to keep her affair with a handsome younger man a secret from her spouse—until her lover’s jealous ex initiates a blackmail scheme (MOMA program notes). Digital restoration by Fondazione Cineteca di Bologna, Cineteca Nazionale and Istituto Luce Cinecittà as part of the Rossellini Project. Courtesy Janus Films.

Monday, April 24 at 7pm

The Woman on the Beach

Directed by Jena Renoir (1947 U.S.) 71 min. 35MM. With Joan Bennett, Robert Ryan, Charles Bickford, Nan Leslie.

Bennett’s taste in directors was unequalled among Hollywood stars—she worked with everyone from Raoul Walsh to Douglas Sirk—but her most sustained series of major collaborations came in the 1940s, when she worked with Fritz Lang (four films), Max Ophuls (The Reckless Moment), and, on this ambitious, ultimately compromised film, Jean Renoir. A moody, depressive drama about an intersection of lost souls on a metaphorically foggy stretch of Long Island beach, the film was intended by Renoir to be a return to the “poetic realism” that dominated French cinema before the war. But a disastrous preview led to rewrites and reshoots, resulting in a glorious ruin that still contains moments of voluptuous despair and neurotic intensity quite unusual for a Hollywood feature (MOMA program notes).

TUESDAY SERIES

Tuesday, April 4 at 7pm

Aftersun – Exclusive Area Engagement!

Charlotte Wells (UK/U.S. 2022) 99 min. DCP. With Paul Mescal, Frankie Corio. In one of the most assured and spellbinding feature debuts in years, Scottish director Charlotte Wells has fashioned a textured memory piece, taking place over the course of a brooding weekend at a coastal resort in Turkey. The charismatic Paul Mescal and naturalistic newcomer Francesca Corio fully inhabit Calum and Sophie, a divorced father and his daughter often mistaken for brother and sister, who share a close and loving bond that creates an entire world unto itself. Wells employs an unusual and gorgeous aesthetic that brings us into the interior space of this parent and child, even as she judiciously withholds details, an approach that finally grants the film a singular emotional wallop. Aftersun reimagines the coming-of-age narrative as a poignant, ultimately ungraspable chimera, informed by the present as much as the past. Winner of the French Touch Prize of the Jury at this year’s Cannes Festival (Lincoln Center program notes).

Tuesday, April 11 at 7pm

ALL THE BEAUTY AND THE BLOODSHED – Exclusive Area Engagement!

Laura Poitras (2022) 122 min. DCP.  With Nan Goldin.

Directed by Academy Award-winning filmmaker Laura Poitras, All the Beauty and the Bloodshed is an epic, emotional and interconnected story about internationally renowned artist and activist Nan Goldin told through her slideshows, intimate interviews, ground-breaking photography, and rare footage of her personal fight to hold the Sackler family accountable for the overdose crisis.

WEDNESDAY SERIES

Wednesday, April 5 at 7pm

The Godfather

Directed by Francis Ford Coppola (1972 U.S.) 175 min. DCP. With Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton, Talia Shire. One of the greatest gangster pictures of all time, The Godfather follows the chain of circumstances that inevitably pull war hero Michael Corelone (Pacino), the youngest son of mob boss Don Vito Corleone (Brando), into the family business. Set over the course of the decade from 1945-1955, The Godfather is epic in scope yet surprisingly intimate in execution – thanks largely to a close, dark style created by director Coppola and legendary cinematographer Gordon Willis.

Wednesday, April 11 at 7pm

People on Sunday

Directed by Robert Siodmak (Germany 1930) 73 min. Years before they became major players in Hollywood, a group of young German filmmakers—including eventual noir masters Robert Siodmak and Edgar G. Ulmer and future Oscar winners Billy Wilder and Fred Zinnemann—worked together on the once-in-a-lifetime collaboration People on Sunday (Menschen am Sonntag). This effervescent, sunlit silent, about a handful of city dwellers (a charming cast of nonprofessionals) enjoying a weekend outing, offers a rare glimpse of Weimar-era Berlin. A unique hybrid of documentary and fictional storytelling, People on Sunday was both an experiment and a mainstream hit that would influence generations of film artists around the world.

Wednesday, April 26 at 7pm

M

Directed by Fritz Lang (Germany 1931) 110 min. 35MM. With Peter Lorre, Ellen Windmann, Inge Landgut. German with English subtitles. A simple, haunting musical phrase whistled offscreen tells us that a young girl will be killed. “Who Is the Murderer?” pleads a nearby placard as serial killer Hans Beckert (Lorre) closes in on little Elsie Beckmann . . . In his harrowing masterwork M, Fritz Lang merges trenchant social commentary with chilling suspense, creating a panorama of private madness and public hysteria that to this day remains the blueprint for the psychological thriller.

FRIDAY SERIES

Friday, March 31 at 1pm
The Savage Innocents

Directed by Nicholas Ray (France/Italy/UK 1960) 110 min. With Anthony Quinn, Yoko Tani, Peter O’Toole.

Ray’s lifelong interest in isolated cultures – gypsies in Hot Blood, the Deep South in Wind in the Everglades – informs every frame of this fascinating late film about an Inuit hunter, robustly played by Anthony Quinn, who runs afoul of the laws imposed upon his Arctic homeland by the white settlers. Assigned to bring him to justice is a naïve lawman, played by Peter O’Toole in an early screen appearance, who is pulled dangerously deep into the Arctic winter. A return to Ray’s perennial theme of a search for home, The Savage Innocents was shot in CinemaScope on location in Northern Canada, using the immense emptiness of the landscape to emphasize the harshness of the environment and the ultimately insurmountable difference between the two distant cultures (Harvard Film Archive Program Notes).

Friday, April 7 at 1pm
The True Story of Jesse James

Directed by Nicholas Ray (U.S. 1957 ) 92 min. With Robert Wagner, Jeffrey Hunter, Hope Lange.

The bullets fly as James Brothers (Robert Wagner’s Jesse and Jeffrey Hunter’s Frank) and their gang run into surprising resistance from the irate citizens of Northfield, Minnesota– and then flashbacks begin, in a ballad-like portrait of a man who falls in love with his own legend (Film Forum notes). 

Friday, April 21 at 1pm
Red Line 7000

Directed by Howard Hawks (U.S. 1965) 110 min. 35MM. With James Caan, Laura Devon, Gail Hire.

Red Line 7000 finds Hawks returning to the stock-car racing milieu of his earlier The Crowd Roars with a larger cast and an even more dizzying sense of peril. Making spectacular use of several famous North Carolina NASCAR tracks (Daytona, Charlotte and Darlington Speedways), the film spends much of its nearly two-hour runtime on lengthy race sequences that alternate among the drivers, the crowd, the announcers and the pit crews, with Hawks’ eclectic visual style encompassing everything from whiplash-inducing zooms, immersive driver-POV shots, clarifying overhead scans of the track, and droll stationary coverage of the spectators. Away from the circuit, the film surveys the various friendships, romances and rivalries that develop among a group of drivers and the women who remain stuck in their orbit.

Friday, April 28 at 1pm
Rio Lobo

Directed by Howard Hawks (U.S. 1970) 114 min. 35MM. With John Wayne, Jennifer O’Neill.

Col. Cord McNally (Wayne), a former union officer, teams up with a group of men to search for the traitor whose perfidy caused the defeat of McNally’s unit in the Civil War. Their quest brings them to Rio Lobo, a small Texan town besieged by a band of ruthless outlaws led by the traitor they were looking for. Hawks’s last film is a relaxed Western in the mold of Rio Bravo and El Dorado (Museum of the Moving Image program notes).