Thanks for the reportage. The $$ issue seems to be consistent with a change in pricing policy adjusted to "late-stage pandemic/inflation" conditions. The only discount available is at the "festival pass" level--all else is bumped up to premium prices. This was the approach at NC Oakland as well.
The NC DC festival will be a more expansive variant of that approach, with more chances for pass holders to pick and choose which films they see when. Perhaps due to the input of the AFI/SS management, it's also a series with a strong central theme (75th anniversary screenings), as opposed to the rather schizoid collection of films presented in Chicago.
I remain amused by Eddie's need to portray himself as a connoisseur of Julian Duvivier via his monotonous programming of FLESH & FANTASY/DESTINY, while making little or no effort to explore any of the French master's indigenous work save for PANIQUE (and, occasionally, PEPE LE MOKO). It needs to be pointed out that the French noir fests at the Roxie have provided a much more comprehensive look at Duvivier's work, as the following list will demonstrate:
LA TETE D'UN HOMME (1933)
SOUS LE CIEL DE PARIS (1951)
LA FETE A HENRIETTE (1952)
VOICI LE TEMPS DES ASSASSINS (1956)
MARIE-OCTOBRE (1959)
LA CHAMBRE ARDENTE (1962)
CHAIR DE POULE (1963)
Bob,
Yes, I also wondered about those "impressions" provided by the long-deceased Ms. Blanchard. Best guess is that along with his other skills, Alan must have a way with a ouija board...
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