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Press Images

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Still image from The Two Faces of a Bamiléké Woman, directed by Rosine Mbakam (2017, subtitles, 76 minutes) screening at the National Gallery of Art on October 6, 2018, at 2:00 p.m., in association with the citywide festival Films Across Borders: Stories of Women. Image courtesy CBA.

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Still image from Jamila, directed by Aminatou Echard (2018, subtitles, 84 minutes) screening at the National Gallery of Art on October 13, 2018, at 2:00 p.m., in association with the citywide festival Films Across Borders: Stories of Women. Image courtesy 529 Dragons.

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Still image from The Atomic Café, directed by Kevin Rafferty, Jayne Loader, and Pierce Rafferty (1982, 92 minutes), screening at the National Gallery of Art on October 14, 2018, at 4:00 p.m. Image courtesy Rialto Pictures.

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Still image from Gelbe Blätter, directed by Helga Fanderl (2002–2017), screening at the National Gallery of Art on October 21, 2018, at 4:00 p.m., as part of the film program Correspondences: The Silent Cinema of Helga Fanderl. Image courtesy the artist.

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Still image from Fluid Frontiers by Ephraim Asili (2017, 23 minutes), screening at the National Gallery of Art on October 25, at 3:00 p.m., as part of the second program, Power of Place, in the film event Cinema. History. Culture: Smithsonian African American Film Festival, with Ephraim Asili in person. Image courtesy the artist.

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Still image from Kindah by Ephraim Asili (2016, 12 minutes), screening at the National Gallery of Art on October 25, at 3:00 p.m., as part of the second program, Power of Place, in the film event Cinema. History. Culture: Smithsonian African American Film Festival, with Ephraim Asili in person. Image courtesy the artist.

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Still image from The Houseless Shadow, directed by William Raban (2011, 20 minutes), screening at the National Gallery of Art on October 27, 2018, at 2:00 p.m., as part of the first program in the film series Lifting Traces: Memories of London, presented in conjunction with the exhibition Rachel Whiteread. Image courtesy the artist.

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Still image from 72-82, directed by William Raban (2014, 61 minutes), screening at the National Gallery of Art on October 28, 2018, at 4:00 p.m., as part of the second program in the film series Lifting Traces: Memories of London, presented in conjunction with the exhibition Rachel Whiteread. Image courtesy the artist.

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Still image from Ossessione by Luchino Visconti (1943, subtitles, 140 minutes), screening at the National Gallery of Art on November 3, 2018, at 2:00 p.m., as part of the film series Luchino Visconti. Image courtesy VIGGO.

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Still image from Latifah and Himli’s Nomadic Uncle directed by Alnoor Dewshi (1992, 17 minutes), screening at the National Gallery of Art on November 10, 2018, at 12:30 p.m., as part of the program Resistance to Professionalization in the film series From Co-Op to LUX: The Last Decade of the London Film-Makers’ Co-Op. Image courtesy Lux, London/Cinenova.

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Still image from London by Patrick Keiller (1996, 85 minutes), screening at the National Gallery of Art on August 4, 2018, at 2:00 p.m., as part of the film series Lifting Traces: Memories of London, presented in conjunction with the exhibition Rachel Whiteread. Image courtesy the British Film Institute.

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Still image from Home Suite by John Smith (1994, 96 minutes), screening at the National Gallery of Art on November 11, 2018, at 4:00 p.m., as part of the film series Lifting Traces: Memories of London, presented in conjunction with the exhibition Rachel Whiteread. Image courtesy the Lux, London.

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Still image from Blight by John Smith (1996, 15 minutes), screening at the National Gallery of Art on November 11, 2018, at 4:00 p.m., as part of the film series Lifting Traces: Memories of London, presented in conjunction with the exhibition Rachel Whiteread. Image courtesy the Lux, London.

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Still image from Imaginary, directed by Moira Sweeney (1990, 16 minutes), screening at the National Gallery of Art on November 17, 2018, at 2:00 p.m., as part of the program Self-Determined Selves in the film series From Co-Op to LUX: The Last Decade of the London Film-Makers’ Co-Op. Image courtesy Lux, London/Cinenova.

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Still image from Senso by Luchino Visconti (1954, subtitles, 123 minutes), screening at the National Gallery of Art on November 18, 2018, at 4:00 p.m., as part of the film series Luchino Visconti. Image courtesy VIGGO.

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Still image from The Leopard by Luchino Visconti (1963, subtitles, 186 minutes), screening at the National Gallery of Art on November 24, 2018, at 2:00 p.m., as part of the film series Luchino Visconti. Image courtesy Warner Bros. Corporation/Photofest.

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Still image from Chartres: La lumière retrouvée (Chartres: Light Reborn), directed by Anne Savalli, 2016, subtitles, 54 minutes, screening at the National Gallery of Art on November 25, 2018, at 2:00 p.m., and introduced by Dominique Lallement. Image courtesy American Friends of Chartres.

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Still image from Old Czech Legends by Jiří Trnka (1953, subtitles, 91 minutes), screening at the National Gallery of Art on December 1, 2018, at 2:00 p.m., as part of the film series The Puppet Master: The Complete Jiří Trnka. Image courtesy Comeback Company.

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Still image from the found footage film Lost Landscapes of New York (2017, 83 minutes), screening at the National Gallery of Art on December 2, at 3:30 p.m., and introduced by Rick Prelinger. Image courtesy the Prelinger Archive.

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Still image from the found footage film Lost Landscapes of New York (2017, 83 minutes), screening at the National Gallery of Art on December 2, at 3:30 p.m., and introduced by Rick Prelinger. Image courtesy the Prelinger Archive.

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Still image from the found footage film Lost Landscapes of New York (2017, 83 minutes), screening at the National Gallery of Art on December 2, at 3:30 p.m., and introduced by Rick Prelinger. Image courtesy the Prelinger Archive.

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Still image from The Emperor’s Nightingale by Jiří Trnka (1948, musical soundtrack, no dialogue, 35mm, 72 minutes), screening at the National Gallery of Art on December 8, 2018, at 2:00 p.m., as part of the film series The Puppet Master: The Complete Jiří Trnka. Image courtesy Comeback Company.

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Still image from Ludwig by Luchino Visconti (1973, subtitles, 238 minutes), screening at the National Gallery of Art on December 15, 2018, at 2:00 p.m., as part of the film series Luchino Visconti. Image courtesy VIGGO.

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Still image from Bayaya by Jiří Trnka (1950, subtitles, 75 minutes), screening at the National Gallery of Art on December 22, 2018, at 2:00 p.m., as part of the film series The Puppet Master: The Complete Jiří Trnka. Image courtesy Comeback Company.

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Still image from Garry Winogrand: All Things Are Photographable by Sasha Waters Freyer (2018, 90 minutes), screening at the National Gallery of Art on December 23 and Sunday, December 30, at 2:00 p.m. Image courtesy The Estate of Garry Winogrand, courtesy of Fraenkel Gallery, San Francisco.

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Still image from Garry Winogrand: All Things Are Photographable by Sasha Waters Freyer (2018, 90 minutes), screening at the National Gallery of Art on December 23 and Sunday, December 30, at 2:00 p.m. Image courtesy The Estate of Garry Winogrand, courtesy of Fraenkel Gallery, San Francisco.

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Still image from The Hand by Jiří Trnka (1965, 18 minutes), screening at the National Gallery of Art on December 28, 2018, at 2:30 p.m., in Shorts Program 4, as part of the film series The Puppet Master: The Complete Jiří Trnka. Image courtesy Comeback Company.

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Still image from The Apartment by Billy Wilder (1960, 125 minutes), the Washington premiere of the digital restoration screening at the National Gallery of Art on December 30, at 4:00 p.m. Image courtesy United Artists/Photofest.

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Still image from The Apartment by Billy Wilder (1960, 125 minutes), the Washington premiere of the digital restoration screening at the National Gallery of Art on December 30, at 4:00 p.m. Image courtesy United Artists/Photofest.

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National Gallery of Art 2018 Fall Film Program

Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted.

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