Sag Harbor Cinema Arts Center

Sag Harbor Cinema Arts Center Sag Harbor Cinema and Arts Center
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08/30/2026

“God, I’m so tired of being lied to.” Writer David Koepp breaks down why “Disclosure Day” taps into our deep craving for shared communal events. Is cynicism just youth, or is it pure fatigue?

“I think when you pass 40 or 50 years old, your understandable youthful cynicism erodes into just fatigue.”

Watch the full conversation from our June 20 screening with Artistic Director Giulia D’Agnolo Vallan at the link in bio.

08/30/2026

Out of one trillion galaxies, are we really the only ones who know how to mix a proper drink?

David Koepp weighs in on the math, God, and why “Disclosure Day” sets out to build a “unified theory of UAPs.”

“For us to assume that we’re the only creature that knows how to make a decent cocktail, I think is ridiculous. So, of course they exist.”

Link in bio for the complete post-screening Q&A.

08/30/2026

When Steven Spielberg emails you a secret story idea, you don’t say no.

Writer David Koepp revisits the origins of “Disclosure Day,” from 2017 headlines to a surprise inbox delivery.
“He sent back a few weeks later another one, and he said, ‘Do you want to do it?’ And I said, ‘I thought you’d never ask.’”

Catch the entire archive talk with Giulia D’Agnolo Vallan via the link in our bio.

08/28/2026

“Let’s hear it for ’80s movies.” 🎬 Live from tonight’s Q&A with visionary producer Gale Anne Hurd after “The Abyss: Special Edition.”

Hurd reflected on the visceral power of practical filmmaking - from lighthearted moments like director James Cameron’s brother playing the dead sailor with crabs crawling out of his mouth, to the high-stakes emotional gravity of the drowning scene. As Hurd put it, without relying on today’s “digital magic,” ‘80s classics won us over because we were so deeply invested in the relationships and characters driving the story.

A remarkable look back at one of cinema’s greatest feats.

08/28/2026

Before tonight’s dive into “The Abyss,” producer Gale Anne Hurd took the mic to set the scene, from the film’s astonishing underwater production to the real questions it asks about fear, discovery, and what we do when we meet the unfamiliar.

A gift to have her in the room. 🌊

🎬 The Abyss (Special Edition) - screened tonight with a Q&A to follow

SUMMER NOIR presents MANHUNTER: THE FINAL CUT ~ Friday, August 28th at 9PM ~ 4K Restoration | 40th Anniversary | Final C...
08/27/2026

SUMMER NOIR presents MANHUNTER: THE FINAL CUT ~ Friday, August 28th at 9PM ~ 4K Restoration | 40th Anniversary | Final Cut

Michael Mann’s “Manhunter” returns to the big screen in a stunning new restoration, marking 40 years since its release, and the film that first brought Hannibal Lecktor (with a ‘k’) to the screen.

A retired criminal profiler (William Petersen) reluctantly returns to the FBI to track a serial killer of families, consulting the imprisoned Dr. Lecktor (Brian Cox) along the way. Mann’s third feature, adapted from Thomas Harris’s “Red Dragon,” is a landmark of American noir, with striking cinematography by Dante Spinotti and a haunting turn by Tom Noonan as the hunted killer.

This new Final Cut, personally overseen by Mann, was restored in 4K from the original 35mm negative at L’Immagine Ritrovata in Bologna, with color grading by Stefan Sonnenfeld and a new 5.1 sound mix from the original magnetic printmaster.

Owen Gleiberman of Variety called it his favorite thriller of all time.

One night only. Don’t miss it.

🎟️ Tickets available now, link in bio.

Six thousand feet under, the pressure’s on, and so is the tension. James Cameron’s “The Abyss” pulls you into a world wh...
08/26/2026

Six thousand feet under, the pressure’s on, and so is the tension. James Cameron’s “The Abyss” pulls you into a world where a civilian oil rig crew is called in to search for a lost nuclear submarine, and finds something far more advanced than themselves waiting in the dark.

This screening is the Special Edition, the 171 minute cut Cameron completed after “Terminator 2,” restoring nearly half an hour of material trimmed from the original theatrical release. It’s widely considered the definitive version of the film, with a fuller story and a very different ending than the one audiences saw in 1989.

🎬 Thursday, August 27th at 6PM
🎙️ Q&A with producer Gale Anne Hurd following the film
🌊 A genuine feat of practical filmmaking. A third of the picture was shot underwater, years before CGI could have faked it

Before she helped bring “The Abyss,” “The Terminator,” “Aliens,” and “Armageddon” to the screen, Hurd got her start as an assistant to legendary B movie producer Roger Corman. On a 2018 appearance on WTF with Marc Maron, she talked about how that beginning shaped her career, and how her early ambitions were pointed in a very different direction. Hurd had wanted to be a marine biologist, and joked that “The Abyss” ended up being her “one contribution to marine sciences.” She also described the film’s real subject as the danger of the arms rac e and our instinct to fear the unfamiliar, urging that we not automatically assume alien intelligence would be hostile.

Come up for air after. 🎟️ Tickets in bio.

08/25/2026

Live now at the Sag Harbor Cinema: Summer Noir continues with photographer James Hamilton introducing “The Killing,” Stanley Kubrick’s 1956 racetrack heist masterwork.

Tonight’s guide is a legend in his own right. James Hamilton spent decades photographing musicians, actors, and cultural icons for The Village Voice, Crawdaddy, The New York Herald, Harper’s Bazaar, and The New York Observer, building one of the great archives of American photojournalism. His portraits caught people mid thought, unguarded, exactly as interesting as they actually were. That eye traces straight back to film noir, the genre that made him want to pick up a camera in the first place. In 2024 the Cinema mounted “James Hamilton: On Film,” a full exhibition of that body of work, and tonight he’s here in person to talk about the movie that started it.

Jim Thompson’s dialogue is sharp enough to draw blood. Sterling Hayden plays it cool as the mastermind. Elisha Cook Jr. and Marie Windsor play it disastrously human. The plan is airtight. The people are not.

Ninety-four minutes, one heist, zero guarantees. Kubrick never made a tighter film, and this one still lands like a gut punch dressed in a nice suit.

In the house now. Doors, popcorn, the works.

08/24/2026

“There’s no job too big or too small for this man.” - Julian Schnabel

Following the opening screening of Late Fame, director Kent Jones sat down for a Q&A at Sag Harbor Cinema - which took an unexpected, warm turn when artist and filmmaker spoke up from the audience.

From memories of Jones working in a video store before his time at the New York Film Festival, to reflection on Willem Dafoe capturing the soul of a poet, the evening was a homage to cinephilia, New York history, and the long road to making art.

Late Fame plays all week at Sag Harbor Cinema.

📍 Sag Harbor Cinema

08/24/2026

“Who else is going to play that part? You can picture him credibly speaking poetry.” #
At opening night’s Q&A, director Kent Jones spoke on what drew him to “Late Fame” - from the pure, timeless pull of cinephilia and rediscovering a “lost genius,” to why Willem Dafoe was the only choice to bring an aging poet back into the light.

Now playing at Sag Harbor Cinema for one week only.
#📍 Sag Harbor Cinema | Link in bio for showtimes.

WillemDafoe IndieFilm

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