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Seconds (1966)

QFS No. 212 - Long drought of essays will be overcome by finally resuming periodic takes on films! We resume with John Frankenheimer’s Seconds (1966). Frankenheimer helmed some of the landmark films of the 1960s and ’70s and continued working into the 2000s. The great American filmmaker is one in a long line of great directors who started in television, working alongside the legend Sidney Lumet and, like Lumet, was influenced by the storytelling and production rigors required for the small screen.

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The Italian Job (1969)

QFS No. 176 - Not to be confused with the 2003 Marky-Mark-starred remake of the same name, the original The Italian Job is your classic heist-crime-caper film. The movie is not Italian, unlike Rome, Open City (1945, QFS No. 174).

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Carnival of Souls (1962)

QFS No. 155 - I deliberately know nothing about Carnival of Souls (1962) but it’s an influential horror film and this is the time of the year for influential horror films.

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Black Girl (1966)

QFS No. 141 - Black Girl will be our first ever selection from Senegal, and our first selection of a film by Ousmane Semebene. Sembene is considered the “dean” or father of African cinema. Did I know this before? No. Am I ashamed of that? Yes.

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High and Low (1963)

QFS No. 139 - It’s been entirely too long since we’ve selected a Kurosawa film here at Quarantine Film Society. It was way back in July 2020 when we were young and terrified but watched the masterpiece Yojimo (1961, QFS No. 13. The offending parties to this nearly four-year gap have been reassigned to new minor roles within The Society.

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The Color of Pomegranates (1969)

QFS No. 130 - Martin Scorsese compared The Color of Pomegranates (1969) to “opening a door and walking into another dimension, where time has stopped and beauty has been unleashed.” I am here and ready to walk into another dimension.

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Rocco and His Brothers (1960)

QFS No. 122 from September 27, 2023 - Another Italian film, you say? Well, you longtime members of QFS will remember that Sharat is making his way through the film requirements he was supposed to be have finished before beginning as a grad student at the American Film Institute.

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