The Best Film Series
The Complete Joseph Losey (HFA)
Unseen Noir (HFA)
Minnelli’s Melodramas (HFA)
Return to the Grindhouse (Brattle)
No Borders, No Limits: Nikkatsu Action & 60s Japan (Brattle)
Taking Off (The Films of Milos Forman, MFA)
The Exiles (MFA)
Noon Wine (Sam Peckinpah, Blood Poet, HFA)
Underworld (Somerville Theatre)
Lola Montes (Coolidge Corner)
The BSFC would like to commend Bo Smith on the occasion of his departure as film curator of the Museum of Fine Arts. In his more than two decades at the helm of the film program, Bo brought a remarkable collection of film series and film artists to Boston and had a strong hand in making it one of the leading cities in the country to view non-mainstream and especially foreign film.
Stefanie Lubkowski, who has recently left the Museum of Fine Arts film program after several years there, catered tirelessly to our needs as Film & Concerts Press Coordinator, and, as Friends of Film Coordinator, brought that program online by encouraging and disseminating feedback about their special sneak previews.
Kelly Teer, manager of the Museum of Fine Arts’ auditorium for film exhibition, put a welcoming human face on a cultural institution. Before relinquishing her post this past summer after an 8-year tenure, Ms. Teer never did less than make a difficult job look easy, always ensuring smooth operations, from the box-office straight on to your seat.
Joe Zina leaves the Boston film scene immensely richer than when he stepped into the post of Executive Director of the Coolidge Corner Theatre in 1998. With tireless energy and flair, he oversaw the theater’s physical upgrade, the launch of a $2.5 million capital campaign, the institution of the Coolidge Award, and the sustaining of the Coolidge as a beloved and necessary neighborhood cultural fixture.
To Paul Sherman, for researching, authoring, and self-distributing an instantly indispensable, one-of-a-kind film history, “Big Screen Boston: From Mystery Street to the Departed and Beyond.” For the fascinating story of Boston filmmaking, from imported blockbusters to tiny, heartfelt independents, Sherman’s book is the place to look.
To the Harvard Film Archive’s Steve Livernash, the unofficial dean of Hub 35mm projectionists, for setting a sterling example of film projection as a serious, aesthetic calling, and for extending his job definition to include film preservation. Generations of filmmakers are indebted to Steve for taking time at work to patch and mend their prints, so that the films can be projected in the proper way.