Newfields' Summer Nights movie series returns with 'Mulan,' 'A Knight's Tale' and more
Newfields' popular National Bank of Indianapolis Summer Nights Film Series will return in 2025 to show a mix of favorites from 1939 through the present. From June 6 to Aug. 30, the art and nature campus will screen 14 movies and selections from the Indy Shorts International Film Festival at the outdoor amphitheater behind the Indianapolis Museum of Art.
Highlights include "Mulan," "Star Wars: Episode V — The Empire Strikes Back," "Love and Basketball," "The Wizard of Oz" and "Breakfast at Tiffany's." Here's the full lineup:
Newfields Summer Nights schedule for 2025
Doors open at 7 p.m., and the screening will start at twilight. In case of rain, films will move to the Tobias theater and begin at 9 p.m. Check discovernewfields.org for any changes to the dates or lineup.
More information on the films' subjects and any potential trigger warnings are at commonsensemedia.org.
June 6: " Dangerous Liaisons" (1988. R)
June 13: " The Wizard of Oz" (1939. G)
June 20: " Star Wars: Episode V — The Empire Strikes Back" (1980. PG)
June 28: " Rogers & Hammerstein's Cinderella" (1997. G)
July 3: " Captain America: The First Avenger" (2011. PG-13)
July 11: " Breakfast at Tiffany's" (1961. NR)
July 12: " Robin Hood" (1973. G)
July 18: " Love & Basketball"(2000. PG-13)
July 25 and July 26: Indy Shorts International Film Festival
Aug. 1: " Get Out" (2017. R)
Aug. 8: " The Emperor's New Groove" (2000. G)
Aug. 15: " Planet of the Apes" (1968. G)
Aug. 22: " A Knight's Tale" (2001. PG-13)
Aug. 29: " Mulan" (1998. G)
Aug. 30: " To Catch a Thief" (1955. PG)
Ticket prices and what you can bring
Tickets cost $13 for the general public and $10 for members. Kids ages 5 and under are free, but a ticket must be reserved for them. Patrons can upgrade to a low-profile chair on the middle tier for $8, with a limit of 50 for each film. Tickets will go on sale at 11 a.m. May 6 for the public and and 11 a.m. May 1 for members.
Chairs, blankets, food and nonalcoholic drinks are allowed on site. People cannot bring alcoholic beverages, pets, knives, candles taller than 12 inches and anything not easily carried down the stairs.
Patrons can buy beer, wine, non-alcoholic beverages and snacks on site until 30 minutes after the film begins. Find more information and buy tickets at discovernewfields.org/SummerNights.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Buzz Feed
a day ago
- Buzz Feed
17 Jaw-Dropping Facts About Classic Film Production
Over the years, and especially back in the day, Hollywood has put the cast and crew of movies in some truly wild and dangerous situations. Here are some infamous examples of the extremes people have gone to just to get the right shot: As a minor, Judy Garland was forced to work 72-hour shifts, and given both amphetamines and sleeping pills in order to control her energy levels for such a gruelling schedule. The Tin Man in The Wizard of Oz was originally played by Buddy Ebsen, who got aluminium poisoning from the pure aluminium makeup and was hospitalized. Jack Haley replaced him and is the Tin Man we see in the movie — aluminium paste was used for his makeup, which gave him an eye infection. Meanwhile, Margaret Hamilton, who played the Wicked Witch of the West, had significant burns from the smoke and fire effects in the film, and her stunt double, Betty Danko, was so badly injured when the asbestos-coated "broomstick" she was riding exploded that she had to have a hysterectomy. The Wizard of Oz also used asbestos as fake snow, and it was far from the only movie to do so — it was a common prop in iconic movies like Citizen Kane and It's a Wonderful Life. It's a Wonderful Life was actually shot during summer, and production had to shut down at one point so the cast and crew could recover from heat exhaustion. Tippi Hedren spent five days having live birds thrown at her and finally tied to her costume to film the climactic attack scene in Alfred Hitchcock's The Birds. In her memoir, she described the experience as "brutal and ugly and relentless". Both Linda Blair and Ellen Burstyn permanently injured their spines in two separate incidents while filming difficult stunts for The Exorcist. Malcolm McDowell described filming A Clockwork Orange as "torture" — he cracked several ribs during a violent scene, and also went temporarily blind when his corneas were scratched during the filming of the infamous eye clamping scene. The fight scene between Sonny Corleone and Carlo Rizzi in The Godfather got too real when actor Gianni Russo broke two ribs and cracked his elbow. In a fight scene, Bruce Lee kicked his Enter the Dragon co-star Robert Wall so hard that one of the extras behind him who tried to catch Wall actually broke his arm. For Grease, the dance scene was shot in a gym with no windows, leading several cast and crew to suffer from heatstroke. Sylvester Stallone ended up in intensive care for eight days while filming Rocky IV because he wanted the fight scenes to feel "real," leading to him receiving such a hard blow to his chest that his heart was injured. Burt Reynolds insisted on doing a stunt that involved jumping into a waterfall himself for Deliverance, which led to him falling unconscious and cracking his tailbone. Bo Derek was attacked by a lion while filming Tarzan, the Ape Man, slicing open her shoulder. Arnold Schwarzenegger was actually chased by German Shepherds for the wolf scene in Conan the Barbarian, and was injured when one caught up to him. Michael J. Fox actually passed out and could have died while filming the hanging scene in Back to the Future Part III. And finally, for Police Story, Jackie Chan performed a stunt where he slid down a multi-story pole, tearing through strings of lights, and smashing into a glass pane below. Chan did it in one take, and ended up with second-degree burns on his hands. Which of these facts shocked you the most? Do you have your own stories about Old Hollywood to share? Drop them in the comments!
Chicago Tribune
7 days ago
- Chicago Tribune
Review: ‘You Will Get Sick' at Steppenwolf is a slow reveal that's worth the wait
In a graduation speech I heard this May, the physician-writer Abraham Verghese talked about his experience as a small-town doctor during the AIDS era and how he found, to his amazement, that rural emergency rooms had filled up with AIDS patients even as everyone assumed the crisis was restricted to large cities. But many of these mostly young gay men had chosen, Verghese said, to come home from New York or Chicago to the likes of rural Tennessee to die. And for the most part, he observed in another stereotype-busting comment, he found they were treated by their families with compassion and love. The word AIDS is not mentioned in 'You Will Get Sick,' a rather unusual play by Noah Diaz that opened Sunday night at the Steppenwolf Theatre Company with Amy Morton (making a long-overdue return to Steppenwolf) and Namir Smallwood in the two leading roles. All we know is that the central character, known only in the script as #1, has been given a diagnosis of imminent death from an affliction that is never described. But Verghese's speech did come floating back into my head, because this is a play about how we handle not just death itself, but the period of our lives in chronological proximity to our inevitable exit. To understand the incontrovertible truth behind show's title — not exactly a box office seduction — you have to put the emphasis on the . Moreover, there are powerful themes here of working towards acceptance, of finding the courage to tell loved ones you are leaving. Diaz draws imagery from, believe it or not, 'The Wizard of Oz,' but Dorothy takes a long time to reveal herself, and nothing is solved by any clicking of heels. Here is the initial setup. Smallwood's sick character, #1, is having such difficulty communicating about his fatal illness that he chooses to hire someone to do the job for him. He puts out an advertisement to that effect and gets an answer from a woman, Morton's #2, a matter-of-fact opportunist who negotiates hard for piecemeal rates as she sets about her weird job, some of which involves her client's self-involved sister (Sadieh Rifai). Amy Morton is back on stage in 'You Will Get Sick' at Steppenwolf Theatre. What took her so long?That all might sound straightforward but Diaz freights the play with a much heavier symbolic load, including an amplifed, off-stage narrator who voices the things that #1 cannot bring himself to say, stepping pretty much on top of his lines. That takes a good while to understand and for it to become in any way comfortable as a theatrical experience. Meanwhile, #2 has her own eccentricities; she's a sometime actor who turns this truly bizarre assignment into fodder for her actor's studio and perpetual auditioning for her local community theater production. Other people show up (the cast also includes Cliff Chamberlain and Jordan Arredondo), but the less you know about them in advance, the better. Both Morton and Smallwood are superb here, not least because they are two Chicago actors of different generations who share an obsessive interest in finding the humanity in unusual people and then listening not just to what their character is saying to them, but also to others with whom they share the stage. They're both a real pleasure to watch. I think the play's symbols and metaphors get a bit too dense and oblique in places and this is one of those shows (it recalls the work of Noah Haidle) where you need a lot of patience before it becomes clear what the playwright wants to achieve. It's the kind of show that actors easily understand, being so suffused with the iconography of the theater, but it occasionally crosses the line of self-indulgence; I suspect some subset of the Steppenwolf audience might be a bit too baffled to care. Although sometimes moving, director Audrey Francis' production could have used some sharper edges and more of a forward thrust, especially in the studio scenes. But if you hang in there for just 85 minutes, not only are there twin beautifully crafted performances for you to enjoy but the surprise-filled last few minutes really pays off, not just in the writing but in set designer Andrew Boyce's visual landscape Certainly, you'll leave the theater thinking about what Diaz clearly wants his audience to think about. More specifically, it's hard not to watch this show and think not just about sickness but about how it is described and communicated. By a society at large. By oneself. After all, most of us won't be able to get home without having to tell someone where we are going. Perhaps the hardest cut of all. Chris Jones is a Tribune critic. cjones5@ Review: 'You Will Get Sick' (3.5 stars) When: Through July 20 Where: Steppenwolf Theatre, 1650 N. Halsted St. Running time: 1 hour, 25 minutes Tickets: $20-$136.50 at 312-335-1650 and
Axios
13-06-2025
- Axios
Sci-fi movies that'll make you cry about your dad
Want to feel emotional about fatherhood this Father's Day? Watch sci-fi. The big picture: Sci-fi films often use fantastical plots to explore something deeply human: the love and heartbreak of the parent-child bond. Zoom in:"The Empire Strikes Back" is about interplanetary war — and unresolved daddy issues. "Interstellar" is about secret space travel — and the grief of being a dad watching your kids grow up. "Contact" is about extraterrestrial communication — and the power of a father-daughter bond. The list goes on. And there are plenty of sci-fi titles about motherhood, too — " Arrival" and " Terminator 2," to name a couple. Zoom out: What better way to capture the vastness of the parent-child connection than through the language of the cosmos? And at the same time, "parenthood is a very clean, direct way" to make stories with fairies, aliens or multiple dimensions "emotionally recognizable," says TV writer Marc Bernardin ("Star Trek: Picard," "Carnival Row"). "It also kind of lumps in with the feeling of being lost in a world bigger than you are, and trying to find some sense of comfort in that loss," he tells Axios. You don't have to be a parent to connect with the themes. FWIW: George Lucas wasn't a dad when he made the first couple of "Star Wars" films, and James Cameron didn't have children before the first two "Terminator" movies came out. Between the lines: There's a pattern worth noting. Many of these stories are haunted by loss — often a parent or child. You already know this if you watch enough movies and, in Bernardin's apt wording, "start to see the code of the matrix." From the writer's perspective, when you're more than 30 minutes into the movie about to crest into the second act, "we need to propel our hero out of the comfort of the womb," Bernardin says, speaking metaphorically. "How do we do that? Somebody's gotta go." Carly's thought bubble: Last year, pregnant and weepy during a sci-fi movie marathon, I realized how deeply the genre explores parent-child bonds. "Arrival" and "Dune: Part Two" are now two of my favorite films. (Yes, I'm a Denis Villeneuve fan.) The former is my biggest personal tearjerker, and I'm convinced that the latter — which I saw in theaters twice — encouraged my baby to kick for the first time. We're re-watching "Interstellar" for my husband's first Father's Day. And this line from Matthew McConaughey's character lingers with me: "Once you're a parent, you're the ghost of your children's future." OK, one more, from Anne Hathaway's character:"Love is the one thing we're capable of perceiving that transcends dimensions of time and space. Maybe we should trust that, even if we can't understand it." Father's Day movie picks Let screenwriter Colby Day ("Spaceman," "In the Blink of an Eye" out this year) be your personal Blockbuster salesperson with five of his recommendations for Father's Day sci-fi films: 1. "Contact" (1997) " Based on a story from one of the fathers of modern science writing, Carl Sagan, this explores the intersection of faith and science. The hero's entire journey is at its core the story of a father-daughter relationship." 2. "Children of Men" (2006) " What would our world look like without any children? Pretty bad! Clive Owen plays a reluctant hero and reluctant father figure in a sci-fi movie that also has enough action for the dads." 3. "Interstellar" (2014) "Our generation's 'The Odyssey,' a science fiction myth of epic proportions about a man leaving his family behind to hopefully save the world, and in the process nearly losing himself." 4. "The Mitchells vs. the Machines" (2021) " A really special father-daughter depiction and family film that also happens to have evil robots." 5. "A.I. Artificial Intelligence" (2001)
