Barbara Kopple should make anyone’s list of most influential documentary filmmakers. A pioneer of the cinema verité style, Kopple used her keen eye to create some of the most stirring political films of the 20th century. On Friday and Saturday, the Brattle Theatre screens brand new 4k restorations of two of Kopple’s most celebrated works. In “Harlan County, USA” (1976), Kopple follows the coal miners of a small Kentucky town as they strike against their corporate higher-ups. The film is a riveting, at times harrowing work of pro-worker activism in its own right, with some unforgettable images and an infectious soundtrack of politically minded folk tunes (most memorably Florence Reece’s “Which Side Are You On?”). “Harlan” is paired with its spiritual sequel of sorts, “American Dream” (1990), in which Kopple documents a year-long walkout strike at the Hormel Foods plant in Austin, Minnesota. In a time when disparity between the corporate and working classes is greater than ever, Kopple’s films remain as relevant as when they were shot.
On Friday, the Somerville Cine-Club sets up shop at the Armory’s Rooted Cafe with the first of two planned tributes to the timeless comedy of legendary actor/filmmaker Charlie Chaplin. The first program, titled Chaplin: 1915, collects five shorts the Little Tramp made for Essanay Films, all projected on rare 8mm or 16mm film prints and accompanied by live scores from local musicians. Chaplin was one of the first true geniuses of the movies, and his films still play like gangbusters to live crowds more than a century on, making this a no-miss event for fans of silent film and comedy.
In just three feature films, 36-year-old Chinese filmmaker Bi Gan has put himself in the conversation for greatest living director. From Saturday through Tuesday, the Brattle presents all three of Bi’s features in The Cinema of Bi Gan. On Saturday and Monday, catch Bi’s debut, “Kaili Blues” (2016), and its follow-up, “Long Day’s Journey Into Night” (2018), the latter of which features a jaw-dropping single-take tracking shot which spans the film’s entire second hour. Sunday and Tuesday bring Bi’s latest masterpiece, “Resurrection”(2025), which the Day ranked as the #2 film of 2025. The throughline of Bi’s films is an almost giddy love of the possibilities of film itself, and his images, especially when enjoyed on the big screen, are like nothing else currently out there.
On Monday, the Harvard Film Archive screens two classic arthouse kiddie flicks. “Little Fugitive” (1953), which screens in a brand new 35mm print, follows seven-year-old Joey, who, tricked into believing he’s shot and killed his older brother, goes on the lam — and has a great time doing it, taking advantage of all the rides and sights at Coney Island. It’s a delightful, family-friendly work of early independent American film, with some priceless footage of mid-century Brooklyn and wonderful real-kid performances by its two young leads. It’s paired with Albert Lamorisse’s timeless short “The Red Balloon” (1956), the near-wordless saga of a young boy and his best friend, who happens to be the titular balloon. Both films retain all of their childlike wonder and would make a perfect introduction to the world of cinema for any young viewer. (Also screening in an encore presentation Sunday May 10.)
For those looking for films of a more recent vintage, there are plenty of under-the-radar options. On Monday, the Somerville Theatre welcomes doctor-turned-filmmaker Jessica Zitter for a screening of her new film, “The Chaplain and the Doctor” (2025), about her own unlikely friendship with hospital chaplain Betty Clark, followed by a live Q&A. On Tuesday, the Somerville hosts the local premiere of “Crushing Wheelchairs” (2025), a unique independent social justice thriller created by the folks at POOR Magazine, a California artists’ collective of unhoused and formerly unhoused people. And on Wednesday, the great Grrl Haus Cinema comes home to the Brattle with not one but two programs featuring some of the curators’ favorite short films by women, trans, nonbinary, and genderqueer artists. It’s all more proof that, if you’re only seeing movies at AMC, you’re only seeing a fraction of what’s happening in cinema.
On Thursday, the Somerville Theatre begins its latest repertory series. Thirsty Thursdays is a weekly salute to some of the greatest watering holes in cinema, from the grimiest dive bars to the glitziest night spots. The series kicks off, appropriately enough, with a 35mm “Cocktail” (1988), the gloriously boneheaded retro classic starring Tom Cruise at the peak of his early movie star powers. Cruise plays Brian, a would-be yuppie who discovers he has a knack for mixing drinks — and, more importantly, looking good while he does it. Is there much depth beneath the film’s shimmering ’80s exterior? Perhaps not, but its dazzling behind-the-bar choreography, and Cruise’s absurd levels of charisma, will keep you bellying up for more.
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