Week 22/2026

In conjunction with its exhibition Origins of Cinema, which traces the evolution of early projection devices from the magic lantern to the first Pathé Frères projectors and the Lumière cinematograph, Cinema Palace is also running a thematically linked film program through until June 14. This Sunday’s program, spanning the era of silent slapstick comedy and the early days of sound cinema, brings together some of the major figures of early film history, from Charlie Chaplin and Buster Keaton to Duke Ellington and the duo Patsy Kelly and Thelma Todd. All films will be screened on 35mm.

From May 27 to 31, Bozar turns its focus to the South Korean Jeonju International Film Festival, which operates on a unique model of the “film festival as producer.” Each year, the festival selects and finances new projects by filmmakers, which are then presented the following year. Since its inception, it has supported work by filmmakers such as Tsai Ming-liang, Pedro Costa, Jean-Marie Straub, and Hong Sangsoo. Festival programmer Sung Moon will be present to introduce four evenings, opening on Wednesday with two short films by Bong Joon-ho and Hong Sangsoo.

As part of its program on fishing stories, Cinema Nova will screen Moby Dick (1956) on Friday. The film stands out for its pronounced mid-nineteenth-century look, with a “strange, subdued color scheme,” as critic Bosley Crowther described it, an effect achieved by desaturating the Technicolor film with a matching black-and-white negative. It also impresses with the physical intensity of its action scenes, which at times put the crew in real danger. Huston approaches Herman Melville’s novel not as an adventure story but as philosophical work, emphasizing the struggle between man and (divine) power. “This point was never commented on by any critic who saw the picture, not even those who championed it. They failed to recognize that the work was a blasphemy. The message of Moby Dick was hate,” Huston stated.