Winter 1998 

• Retrospectives: Michelangelo Antonioni; limited run of BLOW-UP; THE KINGDOM II; Jack Smith; Yasuzo Masumura; Shirley Clarke; Pat O'Neill; Olivier Assayas; Threshold of the Visible; R. Bruce Elder Book Launch; Student Film Showcase; Joyce Wieland's REASON OVER PASSION.
• Canadian Premieres: Stig Bjorkman and Fredrik von Krusenstjerna's TRANCEFORMER: A PORTRAIT OF LARS VON TRIER; Lars von Trier's THE KINGDOM II.
• Toronto Premieres: Jack Smith's NORMAL LOVE and THE YELLOW SEQUENCE; Andrew Noren's IMAGINARY LIGHT; Pat O'Neill's TROUBLE IN THE IMAGE; Olivier Assayas's DÉSORDRE and PARIS S'ÉVEILLE.
• Guests: Michael Snow; Chris Whiteley; Risa Shuman; R. Bruce Elder; Yann Beauvais; Michael Zryd.
• Critical Note: "The Masumura Retrospective marks the rediscovery of another Japanese wonder" - Mark Peranson, NOW, February 12, 1998.

Spring 1998 

• Retrospectives: Chantal Akerman; Andy Warhol; Samuel Fuller; Bertolt Brecht on Film; MANUFACTURING CONSENT: NOAM CHOMSKY AND THE MEDIA; William D. MacGillivray's LIFE CLASSES; Wolf Koenig and Roman Kroitor's GLENN GOULD: ON THE RECORD and GLENN GOULD: OFF THE RECORD; Cuban Cinema in the Revolution; Two by Teshigahara (WOMAN IN THE DUNES and ANTONIO GAUDI); Elvis Presley x 2; Isaac Julien's FRANTZ FANON: BLACK SKIN, WHITE MASK; Contact 98 (Raymond Depardon; Man Ray; Bruce Weber).
• Toronto Premieres: Chantal Akerman's CHANTAL AKERMAN BY CHANTAL AKERMAN; Samuel Fuller's DEAD PIGEON ON BEETHOVEN STREET; Juan Carlos Tabío's THE ELEPHANT AND THE BICYCLE; Robert Frank's THE PRESENT; Nicolas Humbert and Werner Penzel's MIDDLE OF THE MOMENT.
• Canadian Premieres: Dani le Huillet and Jean-Marie Straub's FROM TODAY UNTIL TOMORROW; Raymond Depardon's AFRIQUES: COMMENT ÇA VA AVEC LA DOULEUR?
• World Premiere: R. Bruce Elder's A MAN WHOSE LIFE WAS FULL OF WOE HAS BEEN SURPRISED BY JOY; Phil Solomon and Stan Brakhage's "..." (SEASONS), a work-in-progress.
• Guests: Juan Carlos Tabío; Isaac Julien; Michael Chambers; Max Allen; Rick Phillips; Robin Wood; 40 fingers; R. Bruce Elder; Laura Michalchyshyn; Phil Solomon; Stephan Sachs; Jonathan Amitay.
• Special Events: Lectures on Brecht and Brechtian cinema by Pia Kleber; Bart Testa; and Caryl Flinn; Round Table discussion: From Colonialism to Multiculturalism: The Cultural Politics of Frantz Fanon with Isaac Julien, Ato Sekyi-Otu and Heidi McKenzie.
• Critical Note: "Juan Carlos Tabío is wirey, precise and seriously intelligent. ... Yet his newest movie, ... THE ELEPHANT AND THE BICYCLE ... is all those things Tabío doesn't seem to be - surreal, even a bit loony ... and hopelessly romantic when it comes to the movies ... But it's this very tug of opposite tendencies that energizes Cuban Cinema in Revolution, the Cinematheque Ontario series opening tonight ..." - Peter Goddard, The Toronto Star, April 3, 1998.

Summer (June - July) 1998 

• Retrospectives: Howard Hawks; Edward Yang; Akira Kurosawa's RASHOMON.
• SUMMER IN FRANCE II: Spotlights on Alain Delon, Marcel Pagnol, Jean Renoir, Max Ophuls, Catherine Deneuve.
• Critical Notes: "A two-week Cinematheque Ontario buffet of Asian treats begins tonight ... It consists of a comprehensive seven-picture retrospective of Taiwanese director Edward Yang's pulsating output ... Spanning ten years, the retrospective deals, sometimes comically, sometimes caustically, with the changing social order in modern-day Taiwan, which the world's media often misunderstands or ignores" - Sid Adilman, The Toronto Star, June 5, 1998. "LAST YEAR IN MARIENBAD. BREATHLESS. JULES AND JIM. Sigh. They just don't make movies like that any more. So say the young people of Toronto who - according to programmer James Quandt - flock by the thousands to Cinematheque Ontario's annual Summer in France: Classics of French Cinema series" - Ray Conlogue, The Globe and Mail, July 3, 1998.

Fall 1998 

• Retrospectives: The Films of Jean Cocteau & Cie (Jean-Pierre Melville; Luis Bu uel; Georges Franju; and Jean Genet); Tribute to Joyce Wieland; Alexander Sokurov's MOTHER AND SON; Echoes of History: Highlights of Israeli Cinema (Julie Shles; Assi Dayan; Ron Havilio); The Poetry of Precision: The Films of Robert Bresson; Kino-Fist: The Centenary of Sergei Eisenstein; Speaking About Godard; Deepa Mehta's SAM & ME; Recent Toronto Work; Recent British Video; Cocteau and the American Avant-Garde (Maya Deren; Kenneth Anger; Sidney Peterson); Noam Gonick in Person; Harun Farocki in Person; Zev Asher's RAT ART: CROATIAN INDEPENDENTS; BNash's bp(pushing the boundaries); Somewhere in Europe: A History of Hungarian Cinema (Károly Makk; Pal Fejós; Béla Tarr; István Szabo; Miklós Janscó; István Gaál; Zoltán Fábri ); Ulrike Koch's THE SALTMEN OF TIBET.
• Toronto Premieres: Mára Ravins and Jánis Kalëjs' MORNING IN THE PINE FOREST; Julie Shles's AFULA EXPRESS: Assi Dayan's THE 92 MINUTES OF MR. BAUM; Ron Carmeli's MOM'S FIRST OLYMPICS; Dalia Karpel's EMILE HABIBI - I STAYED IN HAIFA; Marianna Kirejewa, Alexander Iskin and Naum Kleiman's EISENSTEIN: THE MASTER'S HOUSE; Harun Farocki's INTERFACE; Zev Asher's RAT ART: CROATIAN INDEPENDENTS; Ulrike Koch's THE SALTMEN OF TIBET.
• Canadian Premiere: Adolf Mérai's JUDITH SIMON.
• Guests: Assi Dayan; Harun Farocki; Kaja Silverman; Julie Murray; Noam Gonick; Zev Asher; Mára Ravins; Christine Yankou; Dennis Reid; Kass Banning; Kay Armatage; BNash; Elizabeth Yake; jwcurry; Victor Coleman; R. Murray Schafer.
• Special Events: Harun Farocki and Kaja Silverman in a dialogue about Godard's NOUVELLE VAGUE.
• Highlights: Cinematheque Ontario coordinates an international tour of the films of Robert Bresson, featuring all-new 35mm prints and a 624-page collection of writings on Bresson, edited by Senior Programmer James Quandt. The series breaks records everywhere it plays (venues included MoMA; Pacific Cinematheque; Los Angeles County Museum; Pacific Film Archive; Harvard Film Archive; George Eastman House; The Film Center, Art Institute of Chicago; and the National Gallery of Art, Washington, D.C.). The retrospective also enjoys great success in Europe at London's National Film Theatre and the Edinburgh Film Festival.
• Critical Notes: "The [Bresson] series, organized by James Quandt of the Cinematheque Ontario, features newly struck 35-millimeter prints with new subtitles, promising a clarity absolutely essential for this most pristine of film artists" - Dave Kehr, The New York Times, January 17, 1999. "Accompanying the series is a fine, fat volume of appreciations and interviews edited by James Quandt. Together the book and the series give the clearest picture yet of a great renegade director who went his own thorny way" - Richard Corliss, Time (International), February 15, 1999. "An important 600-page illustrated book which accompanies this retrospective, is a very welcome work of reference" - Jean Vallier, Le Figaro (International Edition), January 23, 1999. "The award for New York's Best Retro of the Year probably has to go to the...Robert Bresson series...the subject of near fistfights in the MoMA lobby as hardcore cineastes, New Yorker readers...and misanthropic regulars all battled amongst themselves for the right to claim seats in Titus 1 [MoMA's largest theatre] as if they were Lancelot's Grail itself" - Mike Rubin, The Village Voice, January 4, 2000.