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A great director often reaches a point towards the end of a long career when he works completely at his own pace. The work made in this period can be deceptively casual or slightly feverish, but is made with absolute assurance, often in defiance of stylistic and structural norms. These films can be among the most complex and interesting in a body of work, often approaching signature themes from new angles, as illustrated in this series of late films by master directors. Co-curated by Miriam Bale.
The New York Times on The Late Film seriesA.O. Scott writes, "The series at the Brooklyn Academy of Music is unusual, even radical in the way it brings together disparate materials. Most film series are organized around a single genre or period, a national cinema or, most conventionally, a single director’s oeuvre." More Time Out New York on The Late Film seriesKeith Uhlich writes, "There are currently few (all right, no) other movie houses where Robert Bresson’s prizewinning L’Argent (1983) shares close quarters with Howard Hawks’s little-seen Red Line 7000 (1965), so the Brooklyn Academy of Music’s 'The Late Film' series is can’t-miss viewing for cinephiles." More The Village Voice on The Late Film seriesNick Pinkerton writes, "BAMcinématek's killer 23-film series 'The Late Film' gives ample evidence of Shock of the Old." More