Boston International/Arthouse Movie Meetup Group

From the Brattle site
1978 • dir Terrence Malick w/Richard Gere, Brooke Adams, Sam Shepard, Linda Manz • 94 min • DCP “Nobody’s perfect. There was never a perfect person around. You just have half-angel, half-devil in you.” Linda Manz’s twelve-yearold narrator with the bizarre brogue has seen it all: love, death, and a plague of locusts. It’s 1916, and Chicagoans Richard Gere, little sister Manz, and lover Brooke Adams head for the Texas Panhandle to work the wheat fields of a prosperous farmer (Shepard). An ensuing marriage is only the beginning of a bizarre love triangle, ending with violent death amid a spectacular locust plague and a manhunt for a killer.

Gift link to a good NY Times article "Three Reasons to Watch ‘Days of Heaven’"
https://www.nytimes.com/2017/08/24/watching/classic-movie-days-of-heaven-where-to-watch.html?ugrp=c&unlocked_article_code=1.kU0.0CfH.LhAB1H3oS-7f&smid=url-shared

After the movie, we'll meet up in front by the screen (or maybe the side alley if it's not raining and we get shooed out of the theatre quickly), tend to restroom breaks, and head over to the Grafton St Pub and Grill on JFK a few blocks away to dine and discuss.

From the HFA website
The omnibus film In Our Time initiated radical innovations in terms of aesthetic styles, industry practices and commonly depicted themes, thereby revolutionizing the filmmaking industry in Taiwan and inaugurating the movement of Taiwan New Cinema. The four segments are shot by four young emerging directors and each film—set in different decades from the 1950s to the 1980s—represents roughly one of the four younger stages of life: childhood, adolescence, young adulthood (in college) and married life (as working professionals).
Titled Expectations, sometimes translated as Desires, Edward Yang’s segment features a series of sensitive and expressive vignettes that depict the growing pains of adolescents in mid-60s Taiwan. Yang sees the placement of the second short film as structurally akin to the second movement in a symphony, typically characterized by its lyrical and slow nature. The teenaged Hsiao-Fen (Shi An-Ni) serves as a kind of prototype for other young heroines in Yang’s cinematic corpus. The diversity of the cinematic techniques used in his debut short film accentuates the complexity of the protagonist’s emotional and perceptual experience.

After the film, we'll meet up in the lobby , tend to restroom breaks, and head over to the Hong Kong Restaurant to discuss.