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The world is coming to Hollywood It is the topic of the 17the Turner Classic Movies Annual Film Festival (TCMFF), which will run from April 30 to May 3 this year. Although the excitement of a few thousand little people in this crazy world is not worth a hill of beans, for these people this four-day festival is the main event.
There’s a lot to be excited about at this year’s TCMFF, and while I probably say that every year at this festival, this year’s lineup is truly outstanding. Visit TCM’s festival website for all the details while I plan my experience.
As usual, I miss the official opening night gala screening, which I would have loved to have attended this year. Jane Fonda will talk about her friend, the great Robert Redford, who died in September. Fonda will introduce you to the delightful Gene Sachs Barefoot in the park (1968) on opening night. Directed by Gene Sachs barefoot is the second of four films they made together as co-stars. Both appeared in Joshua Logan tall story in 1960, which was Fonda’s debut opposite Redford in an uncredited role.
Fonda isn’t the only legendary name expected at TCMFF this year. Carol Burnett will be interviewed at Club TCM, which is spectacular. I am already full of emotions. Also, Glenn Close will immortalize his hands and footprints during the festival. All this plus world premiere restorations and anniversary screenings. This year is the busiest schedule I can remember, with too many highlights to list.
Now we’re getting to the hard part of the weekend, choosing gems among gems, one tough decision after another because the FOMO is real. So, I always like to point out to first-time festival goers, in the end, there is no such thing as a bad choice.
Thursday, April 30
Unless you’re at the Chinese Theater to see Jane Fonda talk about Robert Redford, then you’ll be kicking off this year’s festival with Jacques Turner. from the past (1947) is meaningless. At least for me. An exceptional film noir with an unforgettable femme fatale played by Jane Greer opposite one of the screen’s most fascinating actors, Robert Mitchum, and glorious cinematography by Nicolas Musuraka. from the past is one of my favorite films of all time, presented by Dana Delaney, a huge fan of noir, whose introduction is perfect. Still, I’m inclined to skip all that in favor of the 90e Charlie Chaplin anniversary show modern times Submitted in 35mm by Tony Shalhoub, who I would love to see in person. Let’s see how this works out for me. I should add that I have seen it from the past Before the big screen, which influences my decision.
I hope that the supporter of Joseph von Sternberg will fight Blonde Venus (1932) in a small theater 4 multiplexes in the next time slot. It’s an obvious choice, but I won’t be there. Although I would love to hear the behind-the-scenes stories about Billy Wilder, Jack Lemmon and Walter Matthau as told by Charlie Matthau. Fortune cookie (1966), I plan to go to a Fritz Lang screening Man Hunt (1941). Gotta pick up a noir when I can.
Friday, May 1
“King of Precode” Warren William will start my Friday in a new one dumb (1932) in Egypt. From there I go straight to Club TCM A conversation with Carol Burnett. Hurt to miss the world premiere restoration of a rare Letty Linton? Sure as hell, but I can’t leave out Ms. Burnett personally.
Next, I’d love to do a Hitchcock show Strangers on the train (1951) in Egyptian presented by Burnett, but I expect this to be a sale. Then this Billy Wilder bit is cynical Ace in the hole (1951). I’ll do whatever it takes to get in, even if it means getting down on my knees and wearing nylons.
My final testimony on Friday poses another conundrum. For many, the obvious choice would be the George Stevens restoration Shane (1953) in Egyptian presented by George Stevens, Jr., but I am drawn to George Cukor’s gas light (1944) in Chinese theater. When will I see this picture in that theater?
Saturday, May 2
The first slot on Saturday is surprisingly rich. You have Charles Burton Abbott and Costello meet Frankenstein In 35mm, HC Potter’s A farmer’s daughter (1947) in nitrate, 75e Robert Wise’s anniversary show The day the earth stood still (1951) and 90e George Cukor’s anniversary show Camille (1936). Offering each of these paintings in succession would make anyone’s day at the festival, but we can only be in one place, and that place for me would be the Chinese Theater for ’75.e Anniversary presentation of George Stevens A place in the sun (1951), for my money, one of the best movies ever made. And for the first time, I might stay in the TCL Chinese Theater all day.
I follow one picture of George Stevens with another picture of George Stevens on Saturday. This time it’s my favorite Freddie and Ginger’s Ride with a score by Jerome Kern and Dorothy Fields, it’s 90e Anniversary screening is required Swing time (1936). This is another stacked slot and especially kills me to miss Captain Blood (1935).
I have a conflict in the next slot, but I don’t think I’ll miss 50e Alan J. Pakula’s anniversary show All the President’s men(1976) with an introduction by John Dean. The best political thriller ever made and the best newsreel film ever made, accompanied by an engaging conversation piece. I can’t resist it. I just have to avoid thinking about what I will miss in the multiplex theater 4.
Another rare pick for me at the TCM festival is probably the Blake Edwards pick Victor/Victoria (1982) with Leslie Ann Warren. However, we have Capra Mr. Smith goes to Washington Screening at the same time and I’ve never seen it on the big screen. Difficult choice!
Finally, there is no conflict for me in the final Saturday slot as I am looking at the favourite, 80.e One of Alfred Hitchcock’s best anniversary screenings, Notorious (1946). What would TCMFF be without a Cary Grant film? Not to mention Ingrid Bergman, Claude Rains, iconic crane shots, espresso, and the perfect MacGuffin.
Sunday, May 3
As usual, Sunday’s TCMFF schedule isn’t complete until all the TBAs are announced, but there is one screening I will be attending, 80e William Wyler Anniversary Presentation The best years of our lives (1946) to start the day. We will see from there. I note that there is a killer afternoon slot with three screenings that I would love to attend: a special presentation by John Gillerman. Towering Inferno Baron and Burt’s intro is sure to be memorable, and so is Hitchcock’s intro rope (1948) is another favorite of mine. But I don’t think I’ll miss Donald Bogle’s introduction to Vincent Minnelli’s historical work A cabin in the sky (1943).
Turner Classic Movies doesn’t make my choice to round out TCMFF 2026 any easier, either.
Although quite different, among my staples are two films slated for a recent festival slot, Sidney Lumet’s network On his 50the Jubilee and Donnen and Kelly on the city (1949). However, I can’t resist getting up, going to the window, and Lumet’s scathing indictment of television and corporate greed. It’s just so good – the acting, the writing – everything.
I would also like to see 60e Stanley Donen’s Anniversary Show Arabesque (1966) earlier in the day, but if I do, I’m not sure if I’ll make it to what promises to be a popular choice for the official final screening of TCMFF 2026.
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there you have it. If all goes as planned, I’ll be covering several movie genres, the biggest names to hit the silver screen, iconic performances, and some of the greatest filmmakers to ever do it. Not bad for a weekend. Let’s just say I’m not crazy about it and hope to see you in Hollywood. If not, I will be covering the festival as a member of the media live via social media. follow me Citizen screenOn the following platforms:
One last note – whether you’re attending TCMFF for the first time this year, or you’re a seasoned pro at selecting and navigating the boulevard, visit Chris Stuhan Darnile’s blog and his comprehensive, entertaining, TCMFF Survival Guide.
I leave you with some pictures I took at last year’s festival.
