How to Catch a 35mm Print in NYC This June 2026

Something is happening on the repertory screens of New York this month that doesn’t happen in most cities, in most decades, in most lifetimes of filmgoing. June 2026 is, by any honest accounting, an exceptional moment to be a cinephile in this city. Two major houses — Metrograph on the Lower East Side and Film Forum in the West Village — are scheduling an unusually dense slate of 35mm prints across the entire month, ranging from a single-showing Disney rarity on original IB-Technicolor stock to back-to-back Pasolini and Fellini introduced by a leading queer film scholar. If you care about the photochemical image — about the grain, the flicker, the singular fact of projected light passing through a physical film that was present during the original shoot — this month is not one to sleep through.

What follows is a verified guide to what’s screening on actual celluloid in New York through June, organized by venue and week, with notes on what makes each screening worth going out of your way for. All dates and formats have been confirmed directly from theater listings at metrograph.com and filmforum.org. Check each theater’s box office for showtimes before you travel, as late additions and occasional cancellations do happen.

Metrograph | 7 Ludlow Street, Lower East Side

Metrograph’s June calendar is staggering in its breadth — the seven-screen venue on Ludlow Street has loaded the month with an extraordinary number of 35mm prints, grouped loosely around three big programming clusters: a Louis Malle retrospective, a Shunji Iwai retrospective (mostly DCP), and a “Queer Images” series for which curator and scholar Marc Francis is programming late-June 35mm highlights. The theater also has a dedicated horror and cult strand threading through weekend midnights. Tickets generally run $17 general admission. Members get advance booking, and some special events require separate RSVP.

This Week — Through June 8

Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975, 202 min, 35mm) screens Tuesday June 2 at 4:00pm. This is the film Sight & Sound named the greatest ever made in 2022, and it is a genuine feat of projection: three and a half hours of Delphine Seyrig’s domestic routine in an Akerman unbroken take that accumulates into something you cannot describe afterward without falling short. The 35mm print preserves the Nouvelle Vague-adjacent grain that Akerman specifically wanted — this is not a film that becomes better at higher resolution, and if you have only seen it on a streaming platform you have not seen it. There’s a second 35mm outing on Tuesday June 9 at 6:10pm for those who can’t make the first.

The Thing (John Carpenter, 1984, 109 min, 35mm) plays Tuesday June 2 at 9:50pm and repeats on a second date later in the week. Carpenter shot on anamorphic lenses, and the wide frame fills out in ways that widescreen DCP can only approximate. The Antarctic isolation reads differently on film — there’s a texture to the paranoia that matches the tactility of the medium. This is also a movie that plays best late at night with a crowd, which Metrograph has sensibly programmed accordingly.

Polyester (John Waters, 1981, 86 min, 35mm) also Tuesday June 2 at 10:15pm. Waters shot this as a deliberate suburban melodrama tribute with Divine and Tab Hunter, and it was originally released with Odorama cards. The 35mm print at Metrograph continues the theater’s commitment to showing Waters films as close to their original exhibition context as possible.

Mad Max 2: The Road Warrior (George Miller, 1981, 96 min, 35mm) plays Thursday June 4 at 1:30pm, with a repeat later in the month. Miller’s second Mad Max is one of the best-edited action films ever made — the Coma Doof Warrior’s flame guitar is an image that cinema invented from scratch — and on 35mm the Australian dust and chrome have a materially different presence than any digital projection can deliver.

The Silence of the Lambs (Jonathan Demme, 1991, 118 min, 35mm) Thursday June 4 at 3:35pm. Demme’s interest in looking — the way Lecter stares directly into the camera, the way Clarice is watched by every man in every corridor — is heightened on film. There’s something appropriate about a 35mm print for a movie whose central subject is, in part, the mechanics of perception.

Vanya on 42nd Street (Louis Malle, 1994, 119 min, 35mm) Friday June 5 at 8:15pm, introduced by Chloe Malle. This is part of Metrograph’s Louis Malle retrospective — the film captures André Gregory and Wallace Shawn performing Chekhov’s Uncle Vanya in the unrenovated New Amsterdam Theatre before its Disney renovation, which gives the print a kind of double documentary value: both a record of a performance and of a lost space. Chloe Malle’s introduction will place the film in the context of her father’s final American work.

A Fish Called Wanda (Charles Crichton, 1988, 108 min, 35mm) Saturday June 6 at 11:30am. A perfectly constructed comedy — the ensemble of Cleese, Curtis, Jamie Lee, and Kline is one of the great achievements of late-80s transatlantic filmmaking — and a film that benefits from the slightly warmer palette that 35mm tends to give Technicolor-descended processes.

Lust for Life (Vincente Minnelli, 1956, 122 min, 35mm) Saturday June 6 at 2:00pm. Kirk Douglas as Van Gogh, shot in CinemaScope on location in the actual Provence and Arles landscapes where Van Gogh painted. The film was the first to be shot on CinemaScope with an artist-biopic subject, and Minnelli’s formal intelligence means the aspect ratio is never incidental. On 35mm, the color is in the Anscocolor range that Minnelli preferred — different from Technicolor, closer to the impure hues of the actual paintings.

Prison on Fire (Ringo Lam, 1987, 98 min, 35mm) Saturday June 6 at 10:30pm. Part of Metrograph’s Ringo Lam program, running alongside City on Fire and School on Fire. The Hong Kong crime genre of the late 1980s was shot on 35mm under conditions that gave the prints a particular degraded-beautiful quality — available light, fast stock, real locations — and Metrograph is presenting these films in the format they were made for.

Atlantic City (Louis Malle, 1980, 104 min, 35mm) Sunday June 7 at 3:30pm. Burt Lancaster and Susan Sarandon in Malle’s elegy for a dying American city. Lancaster’s Lou Pascal is one of the great late-career performances in American cinema, and the film’s melancholy — the sense that a certain kind of American masculine dignity has nowhere left to go — reads with particular force when you know the actual Atlantic City was demolished for casino construction the year after filming. With a second 35mm screening later in the month.

Andrei Rublev (Andrei Tarkovsky, 1966/1971, 205 min, 35mm) Monday June 8 at 3:30pm. This is the one to plan your day around. Tarkovsky’s black-and-white account of the medieval icon painter is one of the defining works of world cinema — the opening hot air balloon sequence, the Tartar raid, the final color sequence of the icons themselves — and it has never been a film that digital projection has fully served. The grain in the black-and-white passages is constitutive of the image, not noise. At over three hours on 35mm, this is a full commitment and a full reward.

Week of June 12–14

My Dinner with André (Louis Malle, 1981, 111 min, 35mm) in the Malle retrospective. Wallace Shawn and André Gregory, a dinner table, a conversation about theater and experience and the difficulty of being alive. On 35mm, Gordon Willis’s cinematography — the face-lit close-ups in the restaurant — has a depth of field that reveals something about proximity and discomfort that the film’s themes require.

Mr. Turner (Mike Leigh, 2014, 150 min, 35mm) — a rare 35mm print of a relatively recent film, which underlines how deliberately Leigh and cinematographer Dick Pope chose to shoot on film. Timothy Spall’s Turner is one of the most physically inhabited performances of the decade, and Pope’s compositions in the Kent coastal light were designed with grain as an aesthetic element. Noon screening.

Caravaggio (Derek Jarman, 1986, 93 min, 35mm) at 3:00pm. Jarman’s first studio feature, a life of the painter rendered in deliberately anachronistic tableaux — typewriters, leather jackets, Caravaggio’s actual model for Bacchus reading a tabloid. The 35mm print is the right container for a film explicitly about the relationship between light, painting, and the body.

The Devil’s Backbone (Guillermo del Toro, 2001, 108 min, 35mm) at 10:20pm. Del Toro’s ghost story set in a Spanish Republican orphanage during the Civil War — often cited by del Toro himself as his most personal film. The amber-and-blue palette that cinematographer Guillermo Navarro designed is one of the great color decisions in recent horror, and on 35mm the relationship between warm and cold light in the orphanage interiors is more present than any digital transfer has captured.

Lady and the Tramp (1955, 76 min, 35mm IB-Technicolor) — Sunday June 14 at 11:15am. ONE SCREENING ONLY. This is the headline rarity of the month and deserves to be treated as such. An IB (imbibition) Technicolor print is not a film print in the sense that most people understand the term. It is a dye-transfer print — dye physically embedded in the film stock by a process that Technicolor abandoned in the early 1970s because it was too expensive. The colors are different in kind from photochemical or digital reproduction: more saturated at the shadows, with a different relationship between the primaries than any process has managed to replicate since. If you have children who need a reason to come, this is a perfect access point. If you are an adult cinephile who has never seen an IB print, this is an education you cannot get anywhere else in the city this month.

Fellini Satyricon (Federico Fellini, 1969, 130 min, 35mm) Sunday June 14 at 1:00pm, introduced by curator and scholar Marc Francis, author of Curating Deviance: Programming the Queer Film Canon. Fellini’s loose adaptation of Petronius is one of the great acid texts of world cinema — a hallucinatory, decadent, deliberately incoherent vision of antiquity that reads now as a kind of queer fever dream of the late 1960s. Marc Francis’s introduction will contextualize the film within the history of queer cinema programming.

The Decameron (Pier Paolo Pasolini, 1971, 111 min, 35mm) Sunday June 14 at 3:35pm, also introduced by Marc Francis. A natural double (or triple, if you stayed for Fellini) — Pasolini’s earthy, frankly sexual adaptation of Boccaccio, shot on location in Naples with nonprofessional actors and a visible delight in the human body. On 35mm, the Neapolitan light in Pasolini’s frame reads very differently from the cleaned-up restoration. This is the right way to see this film.

Later in June

eXistenZ (David Cronenberg, 1999, 97 min, 35mm) Friday June 19, with an introduction by New Museum artist Tishan Hsu. Cronenberg’s body-horror riff on virtual reality and the dissolution of the real came out the same year as The Matrix and made almost none of its money, which is cinema’s loss. On 35mm, the organic textures of the game pods — the flesh-toned consoles, the biological game ports — have a literally tactile quality that is part of the film’s argument about embodiment and technology.

Film Forum | 209 West Houston Street, West Village

Film Forum’s June programming is anchored by two major series, both of which include verified 35mm prints: the ongoing Marilyn 100 centenary celebration (running through June 11) and the monumental OZU 120 retrospective (opening June 9 and running through June 29). Tickets are $18 general admission, $12 for members. Membership at Film Forum is among the best value propositions in New York repertory cinema — the annual fee pays for itself in a few visits.

Marilyn 100 (Through June 11) — 35mm Screenings

Some Like It Hot (Billy Wilder, 1959, 35mm) screens on Saturday June 6 at 8:10pm. This is the 35mm outing for what is frequently called the greatest comedy in the history of American cinema, and for once the hyperbole is defensible. On 35mm, the CinemaScope black-and-white — Wilder and cinematographer Charles Lang made a deliberate choice against color to hide the unconvincing matte work on the Florida beach sequences, and the result is one of the most beautiful monochrome widescreen images in Hollywood history. The Jack Lemmon / Tony Curtis / Marilyn Monroe triumvirate has never been bettered in pure comic performance terms. Film Forum notes the June 6 screening explicitly as 35mm in their listings.

Note: an earlier 35mm run of Some Like It Hot on June 1 was introduced by film historian Noah Isenberg, and that screening has now passed. The June 6 35mm screening is the remaining opportunity this series.

OZU 120 (June 9–29) — 35mm Prints

This is a major event for the city. Film Forum has assembled a complete retrospective of Yasujirō Ozu’s extant films — all 53 surviving works spanning 1929 to 1962 — to mark the 120th anniversary of the director’s birth and the 60th anniversary of his death. The series includes both 4K restorations (from Janus Films and Shochiku) and 35mm prints courtesy of the Japan Foundation and Janus Films. Film Forum’s own series notes state: “Films in this series presented in both 4K restorations and 35mm prints (courtesy Japan Foundation and Janus).”

Two films with confirmed 35mm prints are currently in the listings:

Tokyo Story (Yasujirō Ozu, 1953, 137 min, 35mm print courtesy Japan Foundation/4K DCP Restoration) — Voted the greatest film of all time in the 2012 Sight & Sound directors poll, this account of an elderly couple visiting their indifferent adult children in Tokyo is one of the most quietly devastating films ever made. The 35mm print from the Japan Foundation is the version Film Forum is foregrounding. If you have only seen Tokyo Story on streaming — or have only seen it at all — this is the way to see it for the first time or the last time. Running June 9–29.

Floating Weeds (Yasujirō Ozu, 1959, 119 min, 35mm print courtesy Japan Foundation) — Ozu’s color remake of his own 1934 silent film A Story of Floating Weeds, with cinematography by the great Kazuo Miyagawa (Rashomon, Ugetsu). The color palette in Floating Weeds is one of the most distinctive of Ozu’s career — deeply saturated, warm, rendered through Miyagawa’s eye rather than Ozu’s usual collaborators — and on 35mm the Japan Foundation print preserves a color temperature that no digital scan has fully matched. Running June 9–29.

As the full OZU 120 series schedule continues to develop, additional 35mm titles may be announced. Film Forum’s programming note confirms the series draws on both their Japan Foundation and Janus 35mm holdings — check filmforum.org/series/ozu-120 for updated listings as individual film pages are added.

How to Use This Guide

A few practical notes for the pilgrim planning their month:

The Metrograph sells out — particularly the 35mm midnight screenings and anything with a celebrity introduction or Q&A. Book online in advance. The IB-Technicolor Lady and the Tramp on June 14 is a single screening of a genuine rarity and should be treated accordingly: buy your ticket the moment you decide you want to go. The Tarkovsky on June 8 is also likely to fill; Andrei Rublev at over three hours on 35mm is the kind of event that Metrograph’s audience turns out for.

Film Forum’s OZU 120 runs three weeks and is not going to sell out most individual screenings, but the opening weekend (June 9–11) may run hot for Tokyo Story. The Marilyn 100 Some Like It Hot on June 6 is one of the most crowd-pleasing titles in the series, and the 35mm designation will draw the format-conscious crowd specifically.

Both Film Forum and Metrograph have cafes and bars. Metrograph’s commissary is a full restaurant; Film Forum’s bar is open before and after screenings. After Andrei Rublev or a Malle double feature, you want somewhere to sit and not yet return to the street. Both venues provide that.

A month like this is not accidental. It reflects the sustained work of Film Forum’s Repertory Artistic Director Bruce Goldstein — who has been assembling 35mm prints for repertory programming in this city for decades — and of Metrograph’s programming team, who have built their identity around exactly this kind of celluloid commitment since the theater opened in 2016. The Ozu retrospective at Film Forum is, as the Wall Street Journal noted when it was first announced, a program of epic proportions. The Metrograph slate — running from Akerman to Waters to Tarkovsky to IB-Technicolor Disney — is the argument that Ludlow Street has become one of the essential film venues in America.

June is the month. The prints are here. The city is showing up.

Quick Reference: Verified 35mm Screenings, June 2026

Film Forum (filmforum.org | 212-727-8110 | 209 West Houston St.)

• Some Like It Hot (Billy Wilder, 1959) — Sat June 6, 8:10pm — 35mm
• Tokyo Story (Ozu, 1953) — June 9–29 — 35mm print, Japan Foundation
• Floating Weeds (Ozu, 1959) — June 9–29 — 35mm print, Japan Foundation

Metrograph (metrograph.com | 7 Ludlow St., Lower East Side)

• Jeanne Dielman (Akerman, 1975) — June 2 at 4pm; June 9 at 6:10pm — 35mm
• The Thing (Carpenter, 1984) — June 2 at 9:50pm; repeat June 8 — 35mm
• Polyester (John Waters, 1981) — June 2 at 10:15pm — 35mm
• Mad Max 2: The Road Warrior (Miller, 1981) — June 4 at 1:30pm; June 9 at 10:15pm — 35mm
• The Silence of the Lambs (Demme, 1991) — June 4 at 3:35pm — 35mm
• Vanya on 42nd Street (Malle, 1994) — June 5 at 8:15pm, intro Chloe Malle — 35mm
• Cujo (Lewis Teague, 1983) — June 5 at 10:45pm — 35mm
• A Fish Called Wanda (Crichton, 1988) — June 6 at 11:30am — 35mm
• Lust for Life (Minnelli, 1956) — June 6 at 2pm — 35mm
• Prison on Fire (Ringo Lam, 1987) — June 6 at 10:30pm — 35mm
• Atlantic City (Louis Malle, 1980) — June 7 at 3:30pm — 35mm
• Andrei Rublev (Tarkovsky, 1966) — June 8 at 3:30pm — 35mm
• Cézanne + Une Visite au Louvre (Straub-Huillet, 1990) — 35mm
• My Dinner with André (Malle, 1981) — 5pm — 35mm
• Mr. Turner (Leigh, 2014) — noon — 35mm
• Caravaggio (Jarman, 1986) — 3pm — 35mm
• The Devil’s Backbone (del Toro, 2001) — 10:20pm — 35mm
• Lady and the Tramp (1955) — June 14 at 11:15am — 35mm IB-TECHNICOLOR, ONE SCREENING ONLY
• Fellini Satyricon (Fellini, 1969) — June 14 at 1pm, intro Marc Francis — 35mm
• The Decameron (Pasolini, 1971) — June 14 at 3:35pm, intro Marc Francis — 35mm
• eXistenZ (Cronenberg, 1999) — June 19 — 35mm