{"id":93,"date":"2026-05-14T13:05:29","date_gmt":"2026-05-14T13:05:29","guid":{"rendered":"https:\/\/cambridgemovinghub.com\/?p=93"},"modified":"2026-05-14T13:05:29","modified_gmt":"2026-05-14T13:05:29","slug":"kurosawa-kurt-jodie-chaplin-and-doppelgangers","status":"publish","type":"post","link":"https:\/\/cambridgemovinghub.com\/?p=93","title":{"rendered":"Kurosawa, Kurt &#038; Jodie, Chaplin, and doppelgangers"},"content":{"rendered":"<div>\n<p>Even among the rich, eerie world of Japanese horror cinema, Kiyoshi Kurosawa stands alone. His films mix traditional Japanese forces and spirits with the more mundane horrors of the modern world (Kurosawa\u2019s most recent feature, last year\u2019s \u201cCloud,\u201d is a morality tale about a crooked eBay reseller). In celebration of the release of Kurosawa\u2019s new short film <strong>\u201cChime\u201d<\/strong> (2024), about a culinary master driven to insanity by an insistent tone repeating inside his head, the <strong>Brattle Theatre<\/strong> has curated a mini-retrospective titled <strong>Kiyoshi Kurosawa x4<\/strong>. The 45-minute \u201cChime\u201d screens Friday through Sunday in a double bill with a new 4k restoration of <strong>\u201cSerpent\u2019s Path\u201d<\/strong> (1998), a dark gangland revenge picture starring Sh\u014d Aikawa. Also screening, on Saturday and Sunday, is the rarely seen <strong>\u201cSpider\u2019s Eyes\u201d<\/strong> (1998), which Kurosawa shot concurrently as a sort of companion piece to \u201cSerpent\u2019s Path,\u201d taking the same basic presence (as well as Aikawa) in a much different direction. The series is rounded out Friday and Saturday by arguably Kurosawa\u2019s most famous work, the chilling <strong>\u201cCure\u201d<\/strong> (1997), which rivals \u201cSe7en\u201d in terms of sheer serial killer bleakness. The four films on display here make a perfect entry point to Kurosawa\u2019s dark, disturbing world.<\/p>\n<p>Read more <a href=\"https:\/\/cambridgemovinghub.com\/?p=91\">CRLS seniors receive bevy of scholarships<\/a><\/p>\n<p>On Sunday, the <strong>Somerville Theatre<\/strong> kicks off its latest artfully curated repertory series by looking at <strong>Kurt &amp; Jodie <\/strong>\u2014 that is, Kurt Russell and Jodie Foster. The two onetime Disney child stars matured into respected actors, and the Somerville has programmed a dozen double features capturing Russell and Foster at similar points in their careers. The series begins on Sunday with the two actors in their Disney era: Foster in her breakout role in the original <strong>\u201cFreaky Friday\u201d <\/strong>(1976) and Russell in the delightfully doofy sci-fi comedy <strong>\u201cThe Computer Wore Tennis Shoes\u201d<\/strong> (1969). On Monday, the series jumps to the roles which respectively brought the pair their first tastes of more sophisticated acclaim: Foster as teenage sex worker Iris in Martin Scorsese\u2019s <strong>\u201cTaxi Driver\u201d <\/strong>(1976 \u2014 the same year as \u201cFreaky Friday\u201d) and Russell as post-apocalyptic antihero Snake Plissken in John Carpenter\u2019s <strong>\u201cEscape from New York\u201d <\/strong>(1981). The series continues into July, with double features of canon classics and relative obscurities alike.<\/p>\n<p>Also on Sunday, the good folks at <strong>RPM Fest<\/strong> return to the Brattle, showcasing yet another fascinating experimental filmmaker. The subject of this month\u2019s program is writer and filmmaker <strong>Brian L. Frye<\/strong>, whose work, per RPM\u2019s website, \u201cexplores the relationships between history, society, and cinema through archival and amateur images.\u201d The program, simply titled <strong>\u201cAmerica,\u201d<\/strong> collects eight of Frye\u2019s 16mm shorts, followed by a live Q&amp;A between the filmmaker and RPM\u2019s Brett Melican. Some of the most fascinating cinema right now is being made far from Hollywood \u2014 and we are lucky to live in a city where we can see it on the big screen.<\/p>\n<p>Read more <a href=\"https:\/\/cambridgemovinghub.com\/?p=89\">ShotSpotter vote evokes strong feelings at City Council<\/a><\/p>\n<p>Ever feel like you\u2019re not quite yourself \u2014 or that someone else might be? On Monday, the Brattle kicks off a short repertory series titled <strong>Another You: Doppelgangers, Doubles, and Dupes in Cinema<\/strong>, co-presented by the American Repertory Theater\u2019s production of \u201cBlack Swan.\u201d Darren Aronofsky\u2019s original <strong>\u201cBlack Swan\u201d<\/strong> (2010) is, of course, included, screening on Thursday in a double bill with Krzysztof Kie\u015blowski\u2019s similarly slippery <strong>\u201cThe Double Life of V\u00e9ronique\u201d<\/strong> (1991). Also on the docket are Monday\u2019s double feature of two arthouse monoliths, Ingmar Bergman\u2019s <strong>\u201cPersona\u201d <\/strong>(1966) and David Lynch\u2019s <strong>\u201cMulholland Drive\u201d<\/strong> (2001); Susan Seidelman\u2019s delightful <strong>\u201cDesperately Seeking Susan\u201d<\/strong> (1985) on Tuesday, in which a repressed Rosanna Arquette swaps places with a free-spirited Madonna; and, on Wednesday, a pair of heady science fiction classics, Andrei Tarkovsky\u2019s <strong>\u201cSolaris\u201d <\/strong>(1972) and Alex Garland\u2019s <strong>\u201cAnnihilation\u201d<\/strong> (2018). It\u2019s enough to make you double check all your multi-factor authentication as soon as you get home \u2014 you know, just in case.<\/p>\n<p>On Wednesday, the <strong>Somerville Cin\u00e9-Club<\/strong> continues its month-long tribute to Charlie Chaplin with an unusual double feature at the <strong>Somerville Public Library (Central Branch)<\/strong>. Chaplin\u2019s 46-minute classic <strong>\u201cThe Pilgrim\u201d<\/strong> (1923) marked the actor-filmmaker\u2019s transition from short subjects to features. It\u2019s paired with a true obscurity: the 1922 short <strong>\u201cDon\u2019t Be Foolish,\u201d<\/strong> starring noted Chaplin <em>impersonator<\/em> Billy West. To make the evening even more unique, both films will screen on vintage 8mm prints, with newly recorded original scores by local musicians (Travels With Bindle for \u201cThe Pilgrim\u201d and Jevin Kames for \u201cDon\u2019t Be Foolish\u201d). Cin\u00e9-Club admission is always free, and attendees are encouraged to stick around after the show to discuss the films with fellow local cinephiles.<\/p>\n<p>Read more <a href=\"https:\/\/cambridgemovinghub.com\/?p=87\">Protecting our engine of innovation<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Even among the rich, eerie world of Japanese horror cinema, Kiyoshi Kurosawa stands alone. His films mix traditional Japanese forces and spirits with the more mundane horrors of the modern world (Kurosawa\u2019s most recent feature, last year\u2019s \u201cCloud,\u201d is a morality tale about a crooked eBay reseller). In celebration of the release of Kurosawa\u2019s new [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":92,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[70],"tags":[49,71,72,73],"class_list":["post-93","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-entertainment","tag-film","tag-movies","tag-theater"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Kurosawa, Kurt &amp; Jodie, Chaplin, and doppelgangers - Cambridge Moving Hub<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cambridgemovinghub.com\/?p=93\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kurosawa, Kurt &amp; Jodie, Chaplin, and doppelgangers - Cambridge Moving Hub\" \/>\n<meta property=\"og:description\" content=\"Even among the rich, eerie world of Japanese horror cinema, Kiyoshi Kurosawa stands alone. 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