The Other '68: Faces 
John Cassavetes puts a disintegrating marriage and American middle-class suburban life under the microscope in this visceral, Oscar-nominated drama. First screened 50 years ago, Faces was an explosive moment for DIY filmmaking in America.
Shot in high-contrast 16mm black and white, the film follows the futile attempts of the captain of industry Richard (John Marley) and his wife, Maria (Lynn Carlin), to escape the anguish of their empty relationship in the arms of others. Featuring astonishingly nervy performances from Marley, Carlin, and Cassavetes regulars Gena Rowlands and Seymour Cassel, Faces confronts modern alienation and the battle of the sexes with a brutal honesty and compassion rarely matched in cinema.
This rare 35mm screening will be introduced by Des O'Rawe, Film Studies at Queen's.
THE OTHER '68: Alternative Takes on Turbulent Times
In the history of cinema, 1968 is often associated with images of students rioting in Paris, the assassination of Martin Luther King, the escalation of war in Vietnam, and the wider culture of protest and civic activism. QFT, in partnership with Film Studies at Queen’s, presents a short season exploring some contemporary films that have a more oblique – but no less significant – relationship with the upheavals of ‘68.
Don't miss the other films in the season: My Night With Maud, The Firemen's Ball and The Great Silence.
Part of Uprising: Spirit of ’68, a season supported by funds from the National Lottery, led by Film Hub Midlands on behalf of the BFI UK Film Audience Network.
YOU MIGHT ALSO LIKE
The Other '68: My Night With Maud
An all-time gem of French cinema, Éric Rohmer's My Night With Maud is a captivating interrogation of morality and temptation.
The Other '68: The Firemen's Ball
A milestone of the Czech New Wave, Miloš Forman’s (One Flew Over the Cuckoo’s Nest) last film before his forced exile to the US is both a dazzling comedy and a provocative political satire.
The Other '68: The Great Silence
Jean-Louis Trintignant and Klaus Kinski star in this astonishingly transgressive Spaghetti Western from director Sergio Corbucci (Django). The film is a favourite of Quentin Tarantino, who borrowed both Ennio Morricone and the snowbound setting for his Hateful Eight.