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CSUN Cinematheque

The majority of the screenings sponsored by the CSUN Cinematheque support the academic mission of the Cinema and Television Arts Department. These are provided in conjunction with a class lecture or Q&A. Seating is reserved for those students enrolled in the course.

However, a number of screenings and events are open to the public. Those screenings are listed on the OPEN SCREENING SCHEDULE.

The Alan Armer Theater is located in Manzanita Hall. For DIRECTIONS, click here for a map of the campus. The University requires a parking permit to park in the University parking lots. Parking permits are available for purchase ($6) at the Information Booths located on Prairie Street on the west side of campus and Lindley Avenue on the south side of campus. Exact change is required.



To Reserve the Armer

The primary use of the Armer Theater is to support the teaching curriculum of the Department of Cinema and Television Arts. Other departments on campus may reserve the facility for screening events when it is available. There is a cost recovery fee for this service.

Contact Tim Halloran for information about reserving the theater for on-campus events.

Contact Dr. John Schultheiss to suggest a film or event for the CSUN Cinematheque.

Requests for use of the theater by off-campus clients must be submitted through University Licensing.

His Girl Friday poster

THE CSUN GALLERY OF FILM POSTER ART is the only permanent university gallery in the United States devoted to the art of the movie poster.  It was conceived as a museum-like setting to display the art of the film poster––a largely unappreciated art form.

Click here to learn more.




Welcome to the CSUN Cinematheque

Interior of the Armer Theater

Cinematheque (noun) |sin e mah tek|

a motion picture theater, often part of a university or private archive, showing experimental or historically important films.

The CSUN Cinematheque is an innovative year-round film screening program housed in the Alan and Elaine Armer Theater, a state-of-the-art 130 seat motion picture theater on the CSUN campus. The only venue of its kind in the San Fernando Valley, the Cinematheque presents thematically designed retrospectives of classic films, as well as aesthetically significant contemporary releases--in conjunction with the appearance of featured guest artists for lectures and panel discussions. Conceptual presentations are devoted to: filmographies of important directors, writers, actors, cinematographers; essential genre works; seminal documentaries; major literary, philosophical, narrative themes and traditions; defining technical and artistic models and styles. The Cinematheque is also intended as a regular venue for film organizations, student film competitions, and conferences. Collaboration is encouraged with local studios, guilds, and academies for screenings and related events.


The Alan Armer Theater

The theater is equipped with 35mm film projectors and a theatrical digital projection system with BluRay, DVD, DVCPRO, DVCAM, DV, and VHS sources


Special Screening

Hanhan and her Sisters poster

Monday, February 25, 7 PM


Hannah and Her Sisters, 1986 -- 103 mins.

Darren Star, Creator and Executive Producer (Sex and the City; Melrose Place; Beverly Hills, 90210 and other hit TV shows), will present HANNAH AND HER SISTERS, written and directed by Woody Allen.

 Admission to the My Favorite Movies event will be free, as always, but please note that the CSUN Cinematheque will employ the following admission policy so as to guarantee as fair a seating as possible:

One hour before the event, at 6:00 p.m., a table will be set up outside the Armer.  On a first-come, first-served, basis, numbered tickets will be distributed.  Those bearing tickets will be instructed to line up outside the building, to await entry when the theater doors open at 7:00 p.m.  The tickets must be presented at the Armer door.  So as to be sure of gaining entry, it is strongly advised that you arrive as much before 6:00 p.m. as possible.  That line will form just outside the building, and those at the head of the line will have the opportunity to approach the table and receive a ticket at 6:00 p.m.


Thursday Nights at the Cinematheque

The following screenings are open to the campus community and to the general public. Admission is free. Screenings begin at 7 PM. Hosted by Professor Tim Halloran.



Polish filmmaker Krzysztof Kieślowski was a leading director of documentaries, television and feature films from the 1970s to the 1990s. The social and moral themes of contemporary times became the focus of his many significant films and his unique humanist treatment of those themes secured his place as one of the greatest of modern film directors.


THE SCAR poster

Thurs, Jan 24 -- 7 PM

The Scar (Blizna), 1976 -- 112 mins.

Kieślowski’s feature film debut tells the story of the shifting fortunes of a massive factory project in rural postwar Poland. The Scar is filled with the vivid characters, lucid imagery and the incisive but even-handed social criticism that would define his early films.

Krzysztof Kieslowki portrait



Thurs, Jan 31 -- 7 PM

Documentaries and Short Subjects, 1966-1976 -- 120 mins.

A program of short films and documentaries made by Kieślowski between 1969 and 1980. More overtly political than his later feature films, these earlier efforts nonetheless reveal Kieślowski’s talent for capturing the broad complexities of the human condition.


CAMERA BUFF dvd cover

Thurs, Feb 7 -- 7 PM

Camera Buff (Amator), 1979 -- 117 mins.

Camera Buff is a tragi-comic exploration of the craft of filmmaking. Insightful and self-reflexive, this fictional film about a documentary filmmaker is commonly referred to as a watershed in Kieślowski’s transition from documentary to fiction filmmaking.


Thurs, Feb 14 -- 7 PM

Blind Chance (Przypadek), 1981 -- 122 mins.

Kieślowski’s Blind Chance presents three separate storylines, told in succession, about a man running after a train and the different futures that could result from this seemingly ordinary incident. A transcendental meditation on fate, coincidence and choice.

NO END poster

Thurs, Feb 21 -- 7 PM

No End (Bez końca), 1984 -- 109 mins.

In No End, Kieślowski tells the story of a woman coping with the death of her husband during Poland’s turmoil of the 1980s. Here Kieślowski reveals his career-long interest in the connections between the individual psyche and the politics of collective institutions.

DECALOGUE box set cover

Thurs, Feb 28 -- 7 PM

Decalogue I & II (Dekalog I & II) (1988) -- 120 mins.

Kieślowski’s Decalogue explores the timeless moral issues of human existence through ten contemporary tales inspired by the Ten Commandments. The series begins with the first two touching and thought-provoking episodes, Decalogue I and Decalogue II.

DECALOGUE box set cover

Thurs, Mar 7 -- 7 PM

Decalogue III & IV (Dekalog III & IV) (1988) -- 120 mins.

The Decalogue continues with the next two episodes, Decalogue III, which tells the story of a chance encounter between a married man and his former lover, and Decalogue IV, where Kieślowski takes on the commandment to honor one’s mother and father.

DECALOGUE box set cover

Thurs, Mar 14 -- 7 PM

Decalogue V & VI (Dekalog V & VI) (1988) -- 120 mins.

Decalogue V & VI continue Kieślowski’s Decalogue with two episodes that were later expanded into longer feature films. Decalogue V deals with the commandment against killing and Decalogue VI addresses the commandment against adultery.

DECALOGUE box set cover

Thurs, Mar 21 -- 7 PM

Decalogue VII & VIII (Dekalog VII & VIII) (1988) -- 120 mins.

The Decalogue continues with episodes seven and eight of the series. Decalogue VII concerns a woman abducting her own child, who has been raised by her parents as her sister, and Decalogue VIII is about the complicated issue of bearing false witness.

DECALOGUE box set cover

Thurs, Mar 28 -- 7 PM

Decalogue IX & X (Dekalog IX & X) (1988) -- 120 mins.

The Decalogue series concludes with Kieślowski taking on the coveting of another’s wife in Decalogue IX, and the coveting of goods in Decalogue X. A powerful pair of films to close-out the series in a playful way and with a darkly comedic flourish.


Thurs, Apr 4 -- 7 PM

A Short Film About Killing (Krótki film o zabijaniu) (1988) -- 84 mins.

Kieślowski expanded the fifth episode of his Decalogue for this disturbing and violent feature film about a young drifter who murders a taxi driver. A highly provocative statement that became a critically acclaimed and award winning feature for the director.


Thurs, Apr 18 -- 7 PM

A Short Film About Love (Krótki film o miłości) (1988) -- 86 mins.

A Short Film About Love began as the sixth episode of Kieślowski’s Decalogue. In this expanded stand-alone feature film, a young shy postal worker has his illusions about pure ideal love shattered by the woman who is the object of his obsessive fascination.


Thurs, Apr 25 -- 7 PM

The Double Life of Veronique  (La Double vie de Véronique/Podwójne życie Weroniki) (1991) -- 98 mins.

Kieślowski’s international breakthrough remains one of his most well-known and beloved films. The Double Life of Véronique is an unforgettable symphony of emotion and a mysterious, metaphysical rumination on identity, love, and human intuition.


Thurs, May 2 -- 7 PM

Three Colors: Blue (Trois couleurs: Bleu/Trzy kolory:  Niebieski) (1993) -- 94 mins.

In the devastating first film of Kieślowski’s Three Colors trilogy, a woman reels from the tragic death of her husband and young daughter. More than just a blistering study of sorrow and grief, Blue is also a tale of liberation and a transcendent sensory experience.


Thurs, May 9 -- 7 PM

Three Colors: White Trois couleurs: Blanc/Trzy kolory: Biały) (1994) -- 87 mins.

The most playful and also the grittiest of Kieślowski’s Three Colors films, White manages to be both a ticklish dark comedy about the economic inequalities of Eastern and Western Europe and a sublime reverie about twisted and irrepressible love.


Thurs, May 16 -- 7 PM

Three Colors: Red (Trois couleurs: Rouge/Trzy kolory: Czerwony) (1994) -- 99 mins.

Kieślowski closes his Three Colors trilogy in grand fashion, with an incandescent meditation on fate and chance. Red is an intimate look at forged connections and a splendid final statement from a remarkable filmmaker at the height of his powers.